Paying It Forward: Writers’ Karma

Paying It Forward: Writers’ Karma

Ruth E. Walker

I’m a firm believer in the truth behind the saying: Be kind to others and it comes back to you. I also subscribe to the belief if someone shows you a kindness, do the same for someone else. Pay it forward.

So I was delighted at a recent panel discussion to hear one of the panelists respond to the question: What’s the best piece of writing advice you ever received? 

Heather Tucker, author of the acclaimed novel The Clay Girl, smiled into the audience to reply, “Ruth Walker told me to ‘Get naked, girl, and let the epiphanies fall where they may.'” She went on to explain that she was reluctant to share her work, to submit it for consideration, to let others look at it. My words gave her inspiration and encouragement just when she needed it.

So why did I say that to Heather? The writer I am can be directly linked to a series of kindnesses that supported or encouraged me along the challenging writer’s journey. I can’t begin to recount all the ways in which others have selflessly offered help or support, often arriving at a time when I was ready to give up the dream of publication.

Making the difference

A professor at Trent University’s Durham Campus had a huge impact on my writing career. Adrian Michael Kelly knew my work from his creative writing class a year earlier. He invited me to come and meet respected author and editor, John Metcalf. John offered to read my manuscript at a time I was woefully discouraged about rejections for my novel. A couple of weeks later, he called me. Told me to keep submitting, that the manuscript was good, publisher-ready. And he was right. That novel I was ready to abandon went on to publication with Seraphim Editions and achieved second printing.

It was the support of others that got me there. My professor didn’t have to call me to come and meet John Metcalf. And John didn’t have to look at my manuscript, and then call me. It was all a kindness and I’ll always be grateful.

Ever since, when I hear a writer musing about giving up on a manuscript, I tell them my story. I tell them what John Metcalf told me. Submit, I say. And keep submitting. I pay forward the kindness I’ve received every chance I get.

Spread the support

There are lots of ways to pay it forward. I’ve benefitted from receiving grants and bursaries. They’ve helped me attend conferences and workshops in which I hone my craft. I’ve escaped to write at retreats that I couldn’t have otherwise afforded. So I know the difference it can make in a writer’s life to get a financial boost.

The Pay it Forward philosophy is happily shared by my business partner, Gwynn Scheltema. For several years, Writescape has sponsored a scholarship grant with The Writers’ Community of Durham Region (WCDR). Their scholarship program offers members a chance to apply for a range of awards, up to $500 at the top end. Gwynn and I happen to like the process where applicants don’t need to have a long list of publishing credits to apply. And there isn’t a focus on the literary form. Writers of all kinds and at all levels can apply, as long as they are a member of this 300+ group.

We’ve happily offered the Writescape scholarship each year. And we’ve been delighted to see the recipients use the grant to develop some aspect of their writing goal. This year, the Writescape scholarship went to writer and baker, Rich Helms. He planned on taking a recipe development course at George Brown College, starting in June. Recipe development is not a simple “How to write a cookbook” course. The science in the art of developing a recipe is as precise and vital as the passion needed to create tastebud-exploding foods and then write the recipe.

Rich was deeply disappointed when the June course was cancelled but he didn’t give up. He emailed us recently to announce the course was being run again and he was signed up. We never had a single doubt that Rich would use the scholarship funds to achieve his writing goals.

More than feeling “good”

For Gwynn and me, Rich’s joy in attending his course is a wonderful reminder that paying it forward is an important part of the writer’s journey. Writescape believes in paying it forward, of finding ways to encourage other writers. It can be in small ways, like chatting in networking opportunities and sharing market insights. Or larger efforts, like the WCDR scholarship that we have sponsored for a number of years.

When we “pay it forward” we remember that it was the unexpected and unasked-for time that other more experienced writers gave us that made a difference. Both Gwynn and I have been the recipient of many kindnesses — they certainly soothed the sting of the rejections and disappointments, and fuelled the energy to keep going.

We all benefit when we pay it forward — in this case, Rich’s enthusiasm is contagious. And many writers who are not writing fiction can see that there are grants and scholarships for those “other” writers — the ones who, like Rich Helms, are writing something different but no less worthy of finding a home.

Did You Know

Ways a writer can “pay it forward” are everywhere. Start a writing critique group to share ideas, feedback with other writers. And there are lots of low-cost ways to support writers.

It’s the season of giving, so how about an “unasked for” as a “gift” to fellow writers:

  • write a review
  • like/join an author page
  • comment on a writer’s blog or Facebook author page
  • subscribe to a writer’s blog,
  • ask your local library to get a copy of a book
  • even better BUY A BOOK!! (support independent bookstores too if you can)

If your royalty cheque was especially flush this year, consider donating to an organization that supports writers or give to a literacy program.

Always remember that we all are on the journey together, some further ahead of you and some just behind. Where you are today is not where you will be tomorrow and, more often than not, you moved forward with the help of others.

Places that support writers:

Literacy programs:

Honouring Ruth Walker

Honouring Ruth Walker

Ruth E. Walker

I’m here to pay a bit of tribute to Ruth Walker. No. Not me. The other one. One of two reasons for the E. in my writing name. The international influence that put the “tentative” in my early writing career. My secret nemisis.

PHOTO: John Nordell / The Christian Science Monitor

Because every time I hit up Google for Ruth Walker (go on…admit it…most of us did it when we started out) there she would be: Ruth Walker. Seasoned journalist and editor. Decades of reporting in the U.S. and abroad (including a stint in Canada), and editing for The Christian Science Monitor.

Sadly, Ruth passed away this past September. The Society of Professional Consultants, of which she was the 2017 President, offers up this as part of her obituary:

[Ruth] served as the Monitor’s deputy editor, editorial-page editor, and online news editor before leaving to pursue a freelance career as a writer, editor, and consultant in 2006. Ruth was currently the author of Verbal Energy, a popular weekly column on language and etymology in the Monitor.

Had they asked Ruth, I suspect she might have suggested that “was currently” could be replaced with “was most recently” but that just proves she and I shared some interests.

Adding ink to your porridge

Here’s another reason to like Ruth. From a January 2010 Verbal Energy column, she takes on the misuse of the apostrophe, referencing The Oatmeal and the delightful spelling and grammar posters you’ll find there. There was no link to the Oatmeal from Ruth Walker’s article in the Monitor, likely due to the decidedly non-PG13 state of some of the work there, but I have no such qualms. Nonetheless, she offers:

Ah, thou apostrophe! Thou useful but so oft misused mark! (The foregoing is an example of apostrophe in another sense: “address to an absent person or personified thing.”)

The Oatmeal opus, in the form of a flow chart, walks the would-be punctuator through some basic if/then steps. “Is it plural? DON’T use an apostrophe.”

The misuse of apostophe also makes me crazy. But I know it’s one of many common errors that editors stumble across. So I really liked the quickie grammar references at the end of her column, “How to be possessive about apostrophes:”

In the Oatmeal spirit of “just enough” grammar, here are some hints to use as editorial first aid until a professional can make it to the scene:

1. If you aren’t absolutely sure about who and whom, go with who. Use of whom in the wrong place looks much worse than failure to use whom in the right place.

2. Forgo and forego are both real words; they mean “give up” and “precede,” respectively. But “forego” (as distinct from foregoing) is almost always wrong. “I will forego you out of the room”? Yeah. Right.

3. Both affect and effect can be either a noun or a verb. But you could probably live your whole life without using effect as a verb or affect as a noun. Many people do – and quite happily, too.

I am only sorry that I didn’t actually read her work until now. I rather like her wit and direct style.

Power in a name

At the beginning of this post, I said that Ruth Walker was one of two reasons for the E. in my professional writer’s name. (possessive, not plural.)

Before I discovered my life as a writer in 1996, I spent a couple of decades in Human Resources. Yes. That department. I had a lot of bosses over the years. Many of them women. Some of them so insecure or poorly trained/supported that they made my working life challenging at best, hellish at worst.

But then In the late-80s (plural, not possessive) the hospital hired a new HR manager. A woman genuinely interested in work-life balance long before it was an HR buzzword. A revelation, in fact.

My boss demonstrated the best kind of management qualities for the women and men in her various departments: mentoring and modelling in a positive and instructive manner. I learned how to ask with confidence. She nudged me forward, until I discovered I could actually talk in front of groups without fainting. And I learned that kindness and empathy could open doors in even the most difficult situations.

She was the most self-assured manager I’d ever worked for, so I looked for all the ways she pulled it off. I believed (and still do) that one of her secrets was to use her middle initial in her professional capacity. It was, to me, something of a statement, a Here I am world, more than Mary Smith. I’m Mary D. Smith. How many times in my clerical years had I seen men use their middle initials on the letters I’d typed for them? Lots. And the women? Never. Not until this boss.

Taking on the power

As soon as I had the opportunity to establish myself professionally, I considered the E. I, too, would make that statement. Finding another well-known and respected Ruth Walker in the world of writing sealed the deal.

So there you have it. The desire to be someone different from a noted writer and editor, coupled with my nervousness when I first started writing, drove me to my middle initial. Do I regret it? Not one bit. On the one hand, I feel like I’m honouring a woman who stood out as a wonderful model to the other women in her orbit. And on the other hand, I wanted to stand out in the art of words among other Ruth Walkers as me, the one with the E.

Did You Know?

Many writers choose not to publish under their own names, using pseudonyms instead. Their reasons for writing with a pen name are as diverse as their narrative voices. Some, like 19th century French novelist and memoirist Amantine Lucile Aurore Dupin wrote under the name George Sand. Canadian author and filmmaker Leslie McFarlane wrote 20 of the Hardy Boys adventure series as Franklin W. Dixon. When he moved on, the Dixon name continued under a series of other Hardy Boys writers.

At our most recent retreat, participants were given a series of clues at every meal, all leading to the final clue and answer. It seemed fitting as our Turning Leaves guest author, Vicki Delany, writes mysteries and thrillers. The answer to each clue was a pen name for a famous author. From Mark Twain (Samuel Clemens) to Robert Galbraith (J.K. Rowling), participants were challenged to use their sleuthing skills to discover the answers.

At each retreat, we find ways to stretch your thinking and take you outside of the box. Next retreat: Spring Thaw, April 20 – 22/25, 2018.

Write Away: Highlights From the Poconos

Write Away: Highlights From the Poconos

Guest blogger Stephanie Gibeault writes for children. And lately, she’d been stuck on a novel she loves but couldn’t get liftoff with. A change in locale and working with experienced authors and editors paved the way for some breakthrough work on that middle grade manuscript. She shares her experience with us:

I always heard how amazing writing retreats can be. To learn and write in a resort-like location sounds like a dream. But they’re for people who already have well-developed skills. Right? Not for writers relatively new to their careers or with one unfinished work-in-progress.

Boyds Mills Press

In short, not for writers like me.

Maybe someday I thought I might indulge, but for now, I figured I didn’t have enough ability under my belt. And I didn’t want to be the least-experienced person in the room. Besides, I have a private office for writing, so why would I need to go somewhere else?

Then I stumbled across a five-day workshop I simply couldn’t resist – GettingYour Middle Grade Novel Unstuck at the Highlights Foundation.

Getting there

The Barn workshop centre

The Highlights Foundation is a not-for-profit organization with the mission of improving the quality of children’s literature by helping writers and illustrators hone their craft. They offer more than 40 workshops a year for both  published and novice writers at their retreat centre near Honesdale, Pennsylvania in the Pocono Mountains. Topics range from picture books to YA, and from fiction to the education market. They generously offer over $100,000 in scholarship aid each year to more than 100 attendees, and I am one such grateful recipient.

Despite my reservations about not being ready, I signed up for the workshop last spring because of the teaching staff. I didn’t want to miss my chance to learn from best-selling middle grade authors Elise Broach and Chris Tebbetts. Plus, a guest appearance by Aubrey Poole, editor at Hachette’s JIMMY Patterson Books imprint — too good to pass up.

Writing community magic

It was a magical event and exactly what I needed. Along with 11 other attendees, from a writer with many books under his belt to people just starting out, I learned about both the craft and business of writing, received one-on-one feedback on my work, and left feeling encouraged and inspired. Most importantly, I got “unstuck,” including waking up at 3:00 a.m. and rushing to my computer because I had figured out exactly how to raise my main character’s stakes.

My accommodation was charming, something out of a writer’s daydream. Although there are private rooms in The Lodge, I lucked into a private cabin. Who doesn’t want to write in a quaint little cabin in the woods?

I had twin beds, a desk, my own coffee maker, a mini fridge stocked with pop, and a small bathroom. Everything I needed to nestle in and get to work.

More than eurekas

The days were divided between class time and private writing time. During class, we had lectures, discussions, Q & A sessions, and even writing exercises with the opportunity to share our work with the class. We learned about plot and outlines, the revision process, developing scenes and characters, and how to write gripping first pages. And of course, how to move forward with your writing whenever you’re feeling stuck. (Editor’s note: more on that last one in a future post.)

There was also a one-on-one critique from one of the instructors. This was scheduled on the second day of the workshop, so there was plenty of time to put the feedback into practice. Then, most importantly, we had the opportunity to show the instructor our changes and discuss whether we were on the right track. Both Chris and Elise were incredibly generous with their time, and I took advantage to follow up with my new ideas. That kind of individual attention was invaluable.

Time well spent

Stephanie Elise & Chris

We also ate all our meals with our instructors. It was fun to get to know our teachers better and chat about publishing in such a social and relaxed atmosphere. I don’t know of many events, other than a retreat, that let you so casually interact with publishing professionals and published authors on such an equal footing.

And that private writing time I didn’t think I needed? It was productive, exciting and different from writing at home. A  new view, both from my chair and out my window, inspired me. Fresh off a lecture or critique, I felt motivated to work. No scheduling my writing between chores or other obligations. It was the sole reason I was there and that was liberating.

It was also wonderful to have no other responsibilities than to improve my skills. Other than loading up my plate at mealtimes, I didn’t have to lift a finger away from my pen or keyboard. And that meant more words in less time.

Cross-border revelations

I was the only Canadian at the workshop. I’d heard from other Canadian writers that breaking into the American market is an almost impossible goal. So, during a tour of Boyds Mills Press on the first day, I asked the assistant editor what she thought of working with Canadian authors. I also asked my instructors, Chris and Elise, and the Hachette editor, Aubrey, whether they thought there was such a barrier.

I’m pleased to report they all looked at me like I had two heads. Each one agreed that if the story was excellent, it didn’t matter if the author was Canadian or American.

The issue of setting was mentioned, however. Although a Canadian location was not considered a deal-breaker, it was pointed out that Americans prefer to read about America.

So, if location is not crucial to the story, perhaps moving your setting to south of the border is worth considering if you plan to publish in the States. Of course, this may be specific to children’s literature or these particular editors, but it is still helpful information.

I am so glad I didn’t let my concerns hold me back from attending this writing retreat. I was wrong about the prerequisites and I undervalued the chance to write in a new location. And I wasn’t the only one with those same fears at the workshop.

We all struggle to call ourselves writers. If you are thinking a retreat would be valuable, just not right now, think again. There is no time like the present to improve your skills, receive encouragement, and get inspired. And a retreat is the perfect place to make that happen.

Did You Know?

Writescape has hosted many writers like Stephanie at our retreats. Some of them are writers who say “I’m not sure I’m really a writer.” We’re happy to report that each and every time, those writers leave our retreats knowing they are writers. It is not about the skill level. It is all about owning your true voice and finding the best ways to develop and  express it.

Next retreat: Spring Thaw at Elmhirst’s Resort in Kawartha Lakes. April 20 – 22 or Extend Your Pen until April 24. Includes manuscript feedback and one-on-one consultations. Registration is open now.

Go Bravely, Pioneer!

Go Bravely, Pioneer!

This week Writescape welcomes A.B. Funkhauser as our guest blogger. We first met her in a Writescape workshop where her unique storytelling voice immediately grabbed our attention. She recently launched her third novel at the Indie Author Day in Pickering, and this successful and self-propelled author lets us in on how she sees marketing in the indie world.

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A.B. Funkhauser

Recently, I had the privilege of participating in Indie Author Day at the Pickering Central Library. Sponsored by the PineRidge Arts Council, its purpose was to bring independent and micro-published authors together under a single roof to share ideas and lamentations about this journey we call writing.

So much more than words

Writing is so much more than words on a page. We chase character, motivation, arc, pacing and a satisfying resolution, each ideally wrapped tight in a prescient, unique voice that distinguishes the work and acts as a fingerprint for the artist behind it. Finding that combination can take years accompanied by scores of rejection letters that keep fourth-place-finishes in writing contests company.

That’s the trip. Those of us stubborn and committed enough to either win a contract or go boldly into self-publishing know that the second part of the journey has begun, and it is on this that I’d like to focus.

Pioneering the next wave

Writing it all down is a great beginning. It’s the foundation for a finished product that will be advanced by a marketing plan anchored to a brand.

Most of the speakers at Indie Author Day touched on the fact that indie books have a hard time finding a home in libraries and book stores large and small. There is a very good reason for this. Curated decisions at macro and micro levels are always informed by history and convention. What worked last year will continue to work in subsequent years until new factors change the conversation.

The Canadian Big Three and US Big Five publishing houses and their star authors rule the day and there is nothing wrong with this. Success models like these did not appear overnight; they started small and they grew over time. And they will continue to do so.

But times are changing and Indie authors in the digital age are in a unique position to pioneer the next wave by reaching where they could not before. Heavy oak doors barred, locked and guarded by agents and executives fall away when the author, published or not, has access to millions of readers via Internet platforms. Promoting  in the safety and comfort of one’s home is the best place to start building the profile that grows the brand.

What is brand?

Think of “brand” in terms of an author resume—for how can authors rightly expect to be taken up without an introduction? Many times we hear about great manuscripts going nowhere because the author (the brand) has little or no Internet presence.

The same happens when authors approach libraries and book stores. “Who are you?” and “What are your credentials?” takes the place of “What is the book about?” These questions are not unreasonable.

Making connections develops “cred”

Like a politician with a constituency, independent authors need followers as a first step to developing “cred” for the words they write. As I explained more than once on Indie Author Day, we can write the best novel, screenplay, short story or poem, but no one will know if we do not get out there and let people know.

Standing in front of our book tables trying to engage a busy parent or indifferent teen on their way to the stacks can be soul depleting. But after a handful of books-oriented events, we do get the hang of connecting on a person-to-person level. Many of us tempt with bowls of candies, free key chains, magnets, bookmarks or short story samples. When a conversation goes well, a book or two may actually be sold.

But it is the connection that is key. For every 50 business cards handed out, only a precious few will be retained; even fewer will be used to access the author’s buy links or website. But that is also okay. We’re not only building a constituency of readers and “cred”, but we’re also building a bridge to that first invitation to guest on a podcast, blog or cable show.

Seven years or five books

Publishing models in the Indie world present many formulas. My publisher says “seven years or five books” before anything happens. Whatever is served up, writers should not be discouraged. Time is an opportunity not just to write, but to build brand and the followers who support and advance it.

The times they are a changin’ opines one of my favorite clichés. For those willing to embrace the change, there is much to be done. I’ve only scratched the surface in a handful of words. The rest is up to you.

Go bravely, Pioneer.

Shine.

 

Toronto born A.B. Funkhauser is a multi-published genre-bending author who loves to market as much as she loves to hash out new material. She credits Writescape with helping her find her way. She publishes through Solstice Publishing.

Twitter https://twitter.com/iamfunkhauser

Facebook  http://www.facebook.com/heuerlostandfound

 

Gardening with words

Gardening with words

Gwynn Scheltema

I was out on a walk and practicing the art of noticing, when I was drawn to a garden and stopped to look at it a little more closely. It was functional: a small patio under a huge maple, a swing for the kids hanging from an overhanging branch, herbs growing in an old wheelbarrow, flowers, veg and a patch of lawn.

Given that it’s autumn, the fallen leaves, frosted hostas and general state of waning made it messy and a little sad. But it wasn’t the kind of yard that looked as if it had been delivered from the local big box store: linear and precise, shallow and predictable – in other words: no message, no heart. This garden had soul.

I’m addicted

Whenever I travel, I visit gardens; I seek them out in concrete-jungle cities and have a vast one of my own. My mother and grandmother taught me to create landscapes that worked with nature, not against it. They taught me how to create a green space with soul. And I realized as I looked at this tiny urban gem on my walk, that creating a garden that has a heart is very much like writing.

Let it speak

To create a garden that lives and breathes, a gardener must understand that fine line between control and releasing what is already there. This example on my walk was not about control or even taming the wild. It was about using what was already there, unearthing it and allowing it to blossom. To speak. That maple tree killed the grass but welcomed a small shaded patio sitting area. The overhanging branch was perfect for a swing.

Like writing – don’t control and delineate as you write. Allow your characters to speak as they want to, to do things you could never dream up. Allow the story to unfold. Let the subconscious through.

 Work with what you have

We all have big writing dreams: maybe the next best seller, perhaps an award or earning enough to live on. But on any given day, don’t worry about what seems unattainable. Work with what you have.

This garden made the most of limited space. If you only have limited writing time, write bits that are already in your head, finish something you started, or plan or research or edit. If a novel seems overwhelming, begin with a single scene, or a short story.

If the dialogue you are producing seems flat, or you don’t really know how to punctuate it, write it anyway. You can always read up or take a course on dialogue later. And you can come back to your piece and edit it when your skills improve. But if you are always waiting for the perfect time or the perfect ability or the perfect story, you’ll be waiting a long time. And as Wayne Gretzky famously said, “You miss 100% of the shots you don’t take.”

And keep things manageable. Better to finish small projects or one large one than to have twenty projects that never see the light of day. There’s nothing like being able to write “The End” to motivate you to write some more.

Don’t throw good bits away

Not everything we write is worth keeping, but often you write a really good scene or stanza that just doesn’t fit with the piece or poem you’re working on. It might even be one of your proverbial “darlings.” Keep it. It may well be the start of another piece or fit into another project. Or it may serve as inspiration and impetus for a new piece that—like the wheelbarrow used as an herb garden—is very different from its original intention.

Give to get

I belong to online gardening swap sites, picking up free rhubarb plants and giving away hostas. I scour the roadside ditches for day lilies and black-eyed Susans and give them new homes. As a writer, you need to have a writing community—maybe just a writing buddy, maybe a critique group or membership in several writing organizations, or perhaps all of them.

But you’ll find that you get more out of your writing community when you contribute: give of your time, your expertise and your encouragement and support. We all have high and low times as writers and whether you need someone to help you with a practical plot problem, to celebrate a success or just give you a kick in the pants to submit or get writing, your writing tribe are the best people to do it. But, offer the same to other writers. I know that over the years, I’ve learned more about the craft by talking to fellow writers and giving feedback to others than from any book.

Tend and nurture

Without planning and fertilizing, weeding and maintaining, gardens wither or become something else you have no use for. Your writing, like any art form, is the same. You wouldn’t expect to play the piano well without practising regularly. Writing is no different. Write, write and write some more. Plan writing time into your schedule. Fertilize your craft with workshops, reading and communing with fellow writers. Weed out all your negative attitudes about not being good enough. And fill your creative well often.

Dare to be different

The garden on my walk was different from all the others on that street. Not necessarily better or worse, but different. The gardener (maybe a young mother?) created what was personally important and meaningful to her, created what was within her creative and maintenance capabilities at the time, what was pleasant and functional for her family’s lifestyle. I’m sure she also hoped that others would like it, but I doubt she created it based on what others wanted. She followed her creative path, made a garden that spoke with her voice and embodied her heart and soul.  Let your writing do the same.

DID YOU KNOW

My garden at Glentula reflects my heart and has served as inspiration to many writers. Custom “Just Write” retreats and one-day escapes are offered every summer. Gather your group, pick your date and contact Writescape to put together what you need to get writing and stay writing.

Reading outside your genre

Reading outside your genre

Gwynn Scheltema

My last post was about defining what genres we write in. Which got me to thinking about what genres we read. And the value of reading outside our usual genres.

Books that move me

I love language and wallowing in words. I love to reread evocative passages, to stop mid story to share a sentence with my husband that I find particularly beautiful or thought-provoking. I like skilled play with fiction forms. Consequently, I often gravitate to literary fiction. Story is important to me, but plot is not. I prefer internal character struggles rather than thrilling events, or fast-paced action. I’m happy to spend time in people’s heads, seeing the world from their perspectives. Recent reads (which I highly recommend) have been: The Orenda by Joseph Boyden. All the Light We Cannot See by Anthony Doerr and Cutting for Stone by Abraham Verghese.

I also like the books I read to be set in exotic places, in other cultures, and affected by political or natural turmoil that I am never likely to be faced with. I like to learn about other customs and occupations. The Bonesetters Daughter by Amy Tan (historical fiction), Three Cups of Tea by Greg Mortenston (non fiction/memoir) and In the Shadow of the Banyan by Vaddey Ratner (historical fiction) fit that bill.

Broadening my reading horizons

But I’ve also had to spend a fair amount of time this year away from home, and have found myself reading books passed on to me or chosen for me by others, books I likely would have walked right by in the bookstore.

I learned a lot in the process. Reading time is limited and with the books I have to read for a variety of reasons, the time left for reading for enjoyment is really limited, but I was reminded that broadening my reading horizons was a necessary—and enjoyable— part of being a well-rounded writer and editor.

What I learned from the books that found me

Of the books that found me, let me tell you about just three of them. Turns out, I enjoyed them all, and reading as a writer, I learned a lot too:

The first one: Spud by John van der Ruit is a YA humorous coming-of-age story set in a fictional private boys school in South Africa in 1990 around the time of the release of Mandela. It’s written in a diary style like The Secret Diary of Adrian Mole.

Apart from bringing back a lot of memories of my own schooling in an Anglican Church School in Zimbabwe, Spud reminded me that humour is a great foil for addressing tough and often brutal circumstances. This book tackled bullying, attempted rape, mental illness as well as the usual problems of growing up, boarding school and relationships. It showed me that sometimes less is more, and that young boys and girls face many of the same problems. Structurally, the diary format allowed much to be said without embellishment or long drawn-out scenes. It allowed room for things to be left unsaid.

The next: The Casual Vacancy by JK Rowling, listed as a contemporary mystery thriller, is a multi-voice fiction about a seemingly ordinary small-town and what really goes on behind closed doors.

Rowling’s dialogue in this book is superb. She handles the dialogue of different ages, cultures and socio-economic characters in way that their speech and dialect is distinct, authentic and utterly believable. I had a hard time getting into the book because there is an enormous cast of characters, and Rowling “head-hops” a great deal, but once in, I was hooked. From this book, I learned that multiple viewpoints can work well as long as each voice has their own story not more or less important than the others.

And the third: Some Girls, Some Hats and Hitler is a memoir by Trudy Kanter, an Austrian Jew who used her connections as a hat designer to escape events in World War II and find safety for herself and her husband Walter. Like Spud, this book handled grave situations with humour. What really struck me though, was how Trudy spent a lot of time talking about hats and fashion and parties and décor and other things that at first seemed frivolous and inappropriate for the dire war situation and terrible and frightening circumstances she was facing. But then I realized that that was Trudy’s coping mechanism. It got me thinking about the different ways different people use to handle a given situation. Just because I might handle a situation one way, my characters (and readers) might do something completely different.

Other reasons to read out of your usual genre

Stephen King famously said, “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.”

Yes, you should read extensively in the genre you write to become familiar with it on all levels, but reading on a regular basis outside your genre, outside your comfort zone, makes you a better well-rounded writer. It clears the cobwebs away in your creative brain. Gets you out of a rut. New perspectives, new craft approaches and new possibilities. Same-old-same-old in your reading leads to same-old-same-old in your writing.

Who knows, you may discover a new genre that really speaks to you. Perhaps that coming-of-age story you’ve been struggling with as an historical romance might be better reworked as a dystopian YA. But you have to read some dystopian YA to find out.

And not just different genres, but different writing forms: short stories, poetry, plays…  Each form can teach you different writing skills that will help with your novel. Plays are excellent for studying dialogue, poetry can remind you about image and metaphor and the economy and power of words.

So take the plunge, be adventurous, make a pact with yourself to include a new genre or new form when you pick up your next book. You’ll be glad you did.

DID YOU KNOW

Ruth and Gwynn are off to the Niagara Region this month to deliver a workshop that explores writing in different styles and genres, called What’s in Your Writing Closet. If your group is interested in this or any of our workshops, explore our on demand workshop options.

 

 

Serious About Being Funny

Serious About Being Funny

Ruth E. Walker

Every year at Turning Leaves, our fall writers’ retreat, we invite a special guest to join us for the weekend. Usually the guest is an author but we’ve also had one of Canada’s top literary agents.

No matter who we have join us, they always bring inspiration and ideas to our participants. We thought it would be interesting to visit a few of our previous guests’ websites or blog posts, and offer you a peek into the people who bring their magic to Turning Leaves each year. Let’s start today with award-winning children’s author Richard Scrimger (Turning Leaves 2012).

Richard had to be one of the funniest guest authors we’ve had join us, posing in his unique way for our traditional group photo.

His website is a delight, especially his “nothing” link that links to, well, lately, it’s been a crazy excerpt from Shakespeare’s Much Ado About Nothing featuring Richard. Sort of.

But Richard is serious about the craft, and has written lots for adults with an acclaimed novel and recurring appearances in the Globe and Mail, Chatelaine and, most recently,Today’s Parent.

Richard is also a highly successful author of award-winning books for young readers, from picture books to young adult novels. He’s recognized by librarians, booksellers and his many young fans for his snappy dialogue, intriguing characters and courage to take on difficult topics in a refreshing way. His most recent book, Downside Up, explores how a young boy deals with heartbreaking grief by travelling to an alternate universe.

On Richard’s website, the FAQs (frequently asked questions) are rich in humour and his trademark directness. Geared for his younger readers, there are some gems for writers of all ages. Here’s a couple of examples:

9) If you get ideas from other people, isn’t that stealing?

Yes. What’s your point?

9A) Isn’t stealing a bad thing?

No. Of course I don’t steal anyone’s words – that would be plagiarizing, and a very bad thing indeed – but I’m always on the lookout for a good idea. When I come to a really interesting bit in a book or a movie, I think: How did the writer do that? Then I try to figure out a way to use the idea myself.

17) What advice do you have for someone who wants to become a good writer.

This one is easy. In order to write well, you have to read well. Art is derivative. Your teachers are right when they tell you to Write what you know, but part of what you know is what you read, so I’ll say: Write what you read. If you love science fiction, try writing a science fiction story like your favorite author. Read everything. If they tell you to read a book, give it a try. If you like it, read some more by the same author. (If they tell you not to read a book – read it anyway. I’m no good at censorship. Hate literature is evil, but I figure you’re smart enough to spot it when you come across it.)

All right, I have time for one more question …..

18) Where do you get your ideas?

Think of my head like a department store. I go through it floor by floor and pick out what I need to furnish my story. 1st floor: painful camp memories, humorous lunch-room episodes, first love, Christmas Eve, going to the beach. 2nd floor: yesterday’s newspaper, last week’s visit to the dentist, favourite books, meals, Simpsons episodes, dance moves. 3rd floor: that weird thing my friend Fuzz found in his attic, my aunt’s memory of the great depression, Grandpa’s best birthday ever, and so on. You can do this too. Your selection will be different, but the process of idea collection is the same. Don’t forget the Bargain Basement, where all the really scary stuff is.

Needless to say, our weekend with Richard was a learning experience. It was also a lot of fun. In future posts on The Top Drawer, we’ll stop by the websites of some of our other guest authors. Poke around. See what we can find.

And share a few gems with you.

DID YOU KNOW?

At Turning Leaves writers’ retreat, our guests offer a Friday night fireside chat where we all get to ask questions and learn insights into the craft or the business of writing. And on Saturday morning, there’s always a hands-on workshop, created by our guests especially for our retreat participants.

Our 2017 retreat is nearly full but we still have a couple of spots open. All the lakeview rooms are taken but we have landview options or, if you’re located close by, we have a day rate available.

What Genre do You Write?

What Genre do You Write?

Gwynn Scheltema

Seems like a simple question, but increasingly these days it can be confusing. Genres not only have subgenres, but subgenres have sub-subgenres: Steampunk is a sub genre of science fiction (or science fantasy) but steampunk itself has sub genres like steamgoth, gaslight romance, clockpunk and dieselpunk.

Then of course, you have the age cross-overs and cross-genres like paranormal romance, crime fantasy, or action comedy.

The mind boggles.

Why does knowing your genre matter?

Initially, it doesn’t matter. When you begin your first draft, story is key and the story will land in the genre it fits best. But once that draft is done, knowing your genre is important. You’ll need to know so you can fine tune your manuscript and pitch it to the right agent or publisher.

It’s a marketing issue. How many places will your book fit? Knowing your genre shows a better understanding of the market, which can only help your submission. If you don’t know where your book fits, you’re saying you don’t know your target audience.

We all like to think that our book is unique, but the reality is, if we can correctly categorize it, readers can access it and agents and publishers will know immediately whether it potentially fits their market.

Genre and editing

And because knowing genre is a marketing issue, it becomes an editing issue, so you can mould your submission to fit publishing needs and reader expectations.

Let’s take the crime/mystery genre as an example and the typical “dead body”. In a cosy mystery, your readers will expect to spend a few chapters meeting the inhabitants of a cosy community and getting to know the protagonist and her friends before the “dead body” is discovered. The actual killing will be off stage. In a police procedural mystery, the “dead body” is there by the end of chapter one. Readers may even witness the murder. It will be important to follow real police investigative and forensic procedures.

Some publishers have well-defined expectations that can help tremendously at this editing stage. Harlequin, the world’s largest publisher of romance, provides clear, detailed guidelines on their website for each of their genre imprints, from the word count to the level of sexual content.

So what is my genre?

Genre definitions are constantly changing and evolving, but you have to start somewhere.

1. Prepare a book jacket blurb

Once the first draft is done, prepare a book jacket blurb (the paragraphs on the back cover that entice readers to buy because they answer the question “What is this book about?”.)  Writing the jacket blurb helps to distill the thrust of the story: the conflict, the stakes and the character arc.

It also helps define what genre it is, because it focuses on the main thread of the story.

2. Define the main genre

With your book jacket blurb in hand, you have your main dominant story thread. Use that main thread to define the main genre. For instance, if your book involves a mystery and a romance, is the dominant story thread a classic “who done it” with a bit of romance thrown in for character growth? (mystery) Or is it really about a relationship blossoming between two people who happen to be solving a mystery together? (romance)

Here’s a list of some of the main genres to get you started:

  • Action/Adventure — epic journeys, lots of conflict/pursuit, high stakes, some violence.
  • Crime/Mystery — stories that involve solving a crime, usually a murder.
  • Fantasy —magic, other worlds, myths and mythological/mystical figures.
  • Historical — fictional characters and events in an historical setting
  • Horror— stories that invoke dread or fear.
  • Thriller/Suspense — harm/danger about to befall a person or group and the attempts to evade the harm/danger, high tension.
  • Romance —love/intimacy/relationships.
  • Sci-fi —impact of technology, aliens, science-related alternative worlds, often futuristic
  • Women’s fiction — stories about women experiencing emotional growth

Once you have your main genre, you can explore subgenres. This link on the definition and characteristics of the main genres is worth looking into.

3. Define your reader

Nail down the age group your book is aimed at: children, young adult, new adult or adult. If your manuscript appeals to more than one group, you have an age cross-over. (Think Harry Potter (children/adult) or Hunger Games (YA/adult).)

Imagine your ideal reader. If you were that reader looking for your book, where would you look? Again, focus on the main narrative thread. Is your ideal reader looking for a romance with a bit of mystery thrown in, or are they problem solvers who like mysteries and might like some relationship stuff thrown in?

Ask your beta readers where they would expect to find your book. Ask your critique group. Tell other writers your blurb and then ask them, “What section of a bookstore would you look in to find my book?”

4. Visit a book store

Go to a bricks & mortar bookstore or hop on the Net. Identify half a dozen books similar to yours and find where they are shelved. Go to Goodreads and check the Listopia recommendations for your main genre, like “Best Science Fiction.” That will lead you to the sub-genres like “Best Steampunk Books.” Read the blurbs on the back covers. Does your book jacket blurb follow a similar pitch?

One way to do this is to have two windows open, one on Amazon and the other on Goodreads. Read the blurb on Goodreads and then search the book on Amazon to see its classification.

I always like the section below the “purchase” button with the phrase “People who bought this also bought….” It’s a great way to find other novels that are categorized the same way. Could your book fit here?

Still not sure?

You’re fine as long as you know your main genre and reader age. Agents will be able to spot a crossover even if you haven’t mentioned it. If your query letter has a good hook and good comparables, the sub-genre will be apparent to them.

However, the time you spend on defining your genre will help you make a better connection between your story and your reader. And your well-crafted blurb will be ready for those moments when someone (maybe an agent or publisher) asks “So what are you writing?”

DID YOU KNOW?

Vicki Delany, our guest at this year’s fall retreat, Turning Leaves  2017, writes in several subgenres of the crime/mystery genre. As  Eva Gates she writes the cosy Lighthouse series, and as Vicki Delany she writes a Police Procedural series featuring Constable Molly Smith.

Fun with Terminology

Fun with Terminology

Gwynn Scheltema

National Punctuation Day

“Yes, Virginia, there really is a National Punctuation Day!”

National Punctuation Day (NPD) claims September 24 for a celebration of punctuation and its importance—a sentiment close to this editor’s heart. Founded by Jeff Rubin in 2004, he encourages people who value correct punctuation and spelling to post pictures of errors spotted in everyday life.

Just a bit of fun, to be sure, but good things have come out of NPD too. StudioSTL,(a non-profit that brings together authors, educators and artists with youth ages 6–18 to develop writing skills to be used in life, work, and school) raises money each National Punctuation Day for their free writing programs and raises awareness for the value of correct punctuation.

The return of the interrobang‽

FontFeed credits National Punctuation Day with the revival of the interrobang. For those, like me, who have no idea what an interrobang is, Wikipedia defines it thus: “A sentence ending with an interrobang (?!  or  !? or ‽ ) asks a question in an excited manner, expresses excitement or disbelief in the form of a question, or asks a rhetorical question. For example: You call that a hat‽” To create one in calibri, press alt8253. Well, who’d’ve thought‽

 

CAPS LOCK DAY

And as if that’s not enough, on October 22, it will be CAPS LOCK DAY?! This day was the brainchild of Derek Arnold of Iowa who was peeved by people using ALL CAPS to emphasize themselves on the web. He proposed that on this day EVERYONE USE ALL CAPS FOR EVERYTHING TO SHOW HOW ANNOYING IT IS and to poke fun at people who use this annoying typing style, in the hopes of bringing some sanity to the Net.

Of course, CAPS LOCK DAY has an underlying humour, but as with a lot of humour, there is a kernel of truth (sometimes a whole nut tree) to be unearthed.

A Sky Full of Poems

The use of humour reminded me of a poetry book I had as a child called A Sky Full of Poems by Eve Merriam (American poet and writer; 1916 – 1992). She had a series of rhymes and poems to help understand grammar and poetic terms.

Here are a few excerpts for you to enjoy that speak to homonyms, homographs, cliché, simile and metaphor:

From the poem “Nym and Graph”

A sound-alike is a homonym
Sing a hymn, Look at him.

A spell-alike is a homograph
A general staff, A walking staff.

//
Said Homograph, “From my point of view
I once saw a saw saw then a sink sink,
I saw a fly fly and a rose that rose up,
I sat down upon down,
I felt a felt hat,
And met a fair maiden at the fair.”

//
“Now tell me Homograph, can you
See things from my point of view?
For I, sir, aye, yes I eye a dear deer
And a hare with hair that is half of a pair
While I pare a pear beside a new gnu
And shoo a bare bear away from my shoe—
And all this I do at ten to two, too!”

From the poem “A Cliché”

//
Warm as toast, quiet as a mouse
Slow as molasses, quick as a wink.          

Think.
Is toast the warmest thing you know?
Think again, it might not be so.

//
Is a mouse the quietest thing you know?
Think again, it might not be so.
Think again: it might be a shadow.
Quiet as a shadow
quiet as growing grass
quiet as a pillow
or a looking glass.

From the poem “Simile: Willow and Ginkgo”

The willow is like an etching,
Fine-lined against the sky.
The ginkgo is like a crude sketch,
Hardly worthy to be signed.

The willow’s music is like a soprano
Delicate and thin.
The ginkgo’s tune is like a chorus
With everyone joining in.

//
My eyes feast upon the willow,
But my heart goes to the ginkgo.
 

From the poem “Metaphor”

Morning is
A new sheet of paper
For you to write on.

Whatever you want to say,
all day,
until night
folds it up
and files it away.

The bright words and the dark words
are gone
until dawn
and a new day
to write on.

 

DID YOU KNOW

Eve Merriam was a pen name. She was born Eva Moskovitz. Another author who writes under a pen name is our guest author at Turning Leaves 2017, Vicki Delany who also writes under the pen name Eva Gates.

One Woman Crime Wave

One Woman Crime Wave

In Conversation with…Vicki Delany

So many of us dream of being a full-time writer. But how many of us would sell our house and retire early from a job as a systems analyst with a major bank to do it? Vicki Delany made that gusty move in 2007. Now she rarely wears a watch and can write whenever she feels like it. In just ten years, Vicki (also writing as Eva Gates) has more than 20 crime and mystery novels to her credit .

And she finds time to give back to the writing community. For two years she was Chair of Crime Writers of Canada, and is also a member of Capital Crime Writers and Sisters in Crime. Just this last Labour Day weekend she was an organizer for the first festival of Women Crime Writers: “Women Killing It”.

Plus, she’s taking precious time out  to join us as Writescape’s guest at this year’s fall retreat, Turning Leaves 2017.  Perhaps you’ll join us too, but right now, take a glimpse into the writing life of this prolific, energetic and generous crime and mystery writer.

What attracted you to the mystery/crime genre?

Mystery novels really do fill the spectrum from light and fluffy to very dark indeed. Something for everyone in fact. Darker crime novels, such as psychological suspense, show the human psyche under pressure.

They take (usually) normal people and put them through a heck of a lot. Some survive, some do not. Physically as well as mentally or morally.

Crime novels allow the reader to ask him or herself: what would I do in this situation? What would I do if this happened to me? How far would I go to save my child/defeat my enemy/get revenge/save myself? What would I do for money/for love?

I’m not interested, as a reader or a writer, in explicit violence or international spies. I’m interested in character and character development, good and bad. It’s through the lens of the crime novel that we can explore people under extreme pressure. The use of a crime or a mystery allows the author to up the stakes for the characters, but the essential humanity and the complex range of human emotions are what’s all-important.

At the moment, I’m writing mostly cozy books. Cozies are all about friends and family and community. The tone is much lighter, there is never any real danger to the main characters, and not much in the way of tragedy or angst. Sometimes a little dash of romance, but the friendships are all important. People love these books because they come to love the characters and the town they live in. And the food. Food and books are often important in cozy novels.

What books are on your bedside table right now?

I’m reading The Perfect Spy by John Le Carre, recommended by a friend. A powerful, complex, intricate novel by an author at the height of his powers. I’ve just finished Dust and Shadows by Lyndsay Faye. In the Sherlock Holmes Bookshop series, all the books and merchandise for sale in the shop exists in real life. I don’t read everything my fictional character stocks, but I do like to dip my toes into Sherlock pastiche now and again.

Up next? Probably In the Name of the Family by Sarah Dunant. I am not a big historical novel reader, but I have loved Dunant’s books. I’m looking forward to the September release of Collapse of a Country: A Diplomat’s  Memoir of South Sudan by Nicholas Coghlan because I have been to South Sudan and I set one of my adult literacy novellas there. (Juba Good)

Tell us about your most recent mystery book series

The latest series is a cozy series, meaning very light, an easy read. No human tragedy or angst here. Gemma Doyle owns the Sherlock Holmes Bookshop and Emporium on Cape Cod. The first book in the series is Elementary She Read.  When Gemma finds a rare and potentially valuable magazine containing the first Sherlock Homes story hidden in the bookshop, she and her friend Jayne (who runs the adjoining Mrs. Hudson’s Tea Room) set off to find the owner, only to stumble upon a dead body.

elementary-she-read-rgbThe higBody on Baker Street - finalhly perceptive Gemma is the police’s first suspect, so she puts her consummate powers of deduction to work to clear her name, investigating a handsome rare books expert, the dead woman’s suspiciously unmoved son, and a whole family of greedy characters desperate to cash in on their inheritance.

But when Gemma and the ever-loyal, but often confused, Jayne accidentally place themselves at a second murder scene, it’s a race to uncover the truth before the detectives lock them up for good.

The second in the series hit the shelves last week on September 12, and is called  Body on Baker Street. The series is a lot of fun with lots of Sherlock Holmes references, but the books can be enjoyed by people with no interest in the Great Detective at all.

Describe a typical writing day/week

When I am at home I write every day, seven days a week. I get up in the morning and go to my main computer in my office, and read e-mails, read the papers online, spend a bit of time on Facebook or Twitter.

Then it’s time to start to write. I walk into the dining room and stand at my Netbook computer which is on the half-wall between the kitchen and the dining room.  As I pass through the kitchen, I put one egg on to boil.  (In the summer, I might sit outside on the deck). I always write, standing up, on the Netbook. I read over everything I did the previous day, doing a light edit as I go. I then take my egg into the study and eat it while checking email.

Then back to the small computer for several writing hours. Discipline is important to me, or I’d never get anything done.

What was the best piece of writing advice you ever received?On Writing: A Memoir of the Craft

In On Writing, Stephen King says to be a writer, you have to read and you have to write. Read, and read a lot. It’s the only way you are going to learn the craft of writing.

What are you working on right now?

The fourth, as yet untitled, book in the Sherlock Holmes Bookshop series.  I am about to start going over the publisher’s edits for The Spook in the Stacks, the fourth in the Lighthouse Library series I write under the pen name of Eva Gates.

 

DID YOU KNOW

At Writescape’s Turning Leaves 2017 fall retreat November 3rd to 5th, you can meet Vicki Delany at the author’s chat on Friday evening and take a workshop with her on Saturday morning, as well as enjoy her company at meals and social times.