Brevity — economy of words — to say so much with so few words is far more powerful than filling a scene with tonnes of description. It works the same way that bulleted, step-by-step directions work better than long paragraphs of first set out all your tools and triple check that you have everything you need and then open the box and take out the hoozits and then you put the hoozits into the whatzits, turning all the way and making sure you haven’t…etc., etc
Sound – rhyme, near-rhyme, alliteration – our ears are engaged with words that share similar sounds when placed close together or in patterns. Amidst…pussy-willow pads of labs, a sudden set of deer tracks – Barry Dempster
Repetition — always with a specific purpose to underscore a meaning or idea — your slightest look easily will unclose me / though i have closed myself as fingers, e.e.cummings
Ideas have power — taking us to places in unexpected ways excites our imaginations — To see a world in a grain of sand and heaven in a wild flower… Wm Blake
Imagery — picture words are effective to convey far more Who made the grasshopper…who is moving her jaws back and forth instead of up and down… Mary Oliver
Structure — the scaffolding on which a poet hangs their words — just as any genre of prose has expectations and writers work with and, often, challenge those expectations, poets take familiar forms and upend them.
Risk — poets, like all artists, take risks with more than just structure. Cowboy Poetry is a venerable form, evoking images of the Old West, cattle drives and breaking wild horses. But modern Cowboy Poetry can be a different story: …the bridge abutment already signed with 4 white crosses for those who did not quite make this curve because of booze, because of snooze…Paul Zarzyski
Symbolism — it’s like holding a flash card designed to evoke meaning, a symbol instantly takes us places. Consider a flag — now make it a white flag — now a Confederate flag — now a nation’s flag upside down — it is still a flag but each time, symbolizes something different. Where the flag is placed can change the symbol it represents. Is it tattered and falling from dying hands? Is it held high during an attack? Is it being consumed by flames on a roadway?
Pacing – Use long languid lugubrious multisyllables with loads of vowels to slow the reader or short sharp words with hard consonants to pick up the pace. Somnolent through landscapes and by trees / nondescript, almost anonymous, …P. K. Page
Breaks – line breaks, stanzas, dashes all signal to the reader to notice, to pause and let what has just been said sink in and prepare for a new thought. Writers have similar signals at their disposal: white space when changing POV, time or location; paragraphs, chapters or a statement all on its own line.
Websites for writers can be a treasure trove of inspiration and resources. For this month’s 10 on the 10th, we’ve compiled, in no particular order, a list of ten helpful places for you to visit. These are websites that, as writers, we’ve found useful and upon occasion fun. Happy surfing!
#1 Writers’ Digest has been around for decades, first as a magazine and now also hosting a massive site that’s loaded with articles on just about any topic a writer might want to explore. Sign up for their newsletter — it’s full of advice and ideas. https://www.writersdigest.com/
#2 Literistic. Imagine receiving a monthly list of contests and magazines with upcoming deadlines for submissions. Literistic caters to people who write poetry, fiction and nonfiction in Canada, the United States and Britain. There’s a free shortlist or you can choose the $8.50/month list that is curated with only the markets and topics that you select. https://www.literistic.com/
#3 One Stop for Writers is a great site with a range of tools for writers. Angela Ackerman and Becca Puglisi (co-authors of six best-selling resource books including The Emotion Thesaurus) joined forces with Lee Powell (creator of Scrivener) to build what they term a “library” for writers. You can register for free and if you like what you see, sign up for a monthly paid subscription. https://onestopforwriters.com
#4 49th Shelf is a website focusing on the books of Canadian writers (but a great discovery for writers outside our borders). Why are we featuring a website about books? Let us quote an American writer here: “If you don’t have time to read, you don’t have the time (or the tools) to write.” from Stephen King’s Top 20 Rules for Writers. Yup. We agree. https://49thshelf.com/
#5 Word A Day. Five days a week, 52 weeks of the year, receive the gift of a daily word. Not only do you get a word, you get its pronunciation, meaning(s), and the history of that word. Each week is thematic. Last week’s theme: weird plurals. Who knew more than one charisma are charismata? Or on the theme of words that don’t mean what you think they do, bloodnoun — it has nothing to do with the stuff in your veins; instead, it’s another word for bullfrog. Words, words, words!https://wordsmith.org
#6 GrammarlyThe more you write (and read) the stronger your own store of grammar and spelling know-how should develop. However. There are times when having a quick resource to check for clear writing and correct grammar is appreciated. Like 3 a.m. when the deadline is looming and you need to feel confident. You’re welcome. https://www.grammarly.com/
#7 WorldCat Need an out-of-print book? Researching for a historical novel? Get connected to world-wide library catalogue system. A 3-minute YouTube video https://www.youtube.com/watch?v=vos5ivBeZ5c gives you a walk-through on how to use WorldCat. Search by subject, title or author. Create your own lists of resources and add or delete items as it suits you. Locate books in a multitude of languages. Read and/or post reviews. A gigantic library at your fingertips. Meow!https://www.worldcat.org/
#8 Poets & Writers Like Writers’ Digest, this is a wide-ranging website for writers, but it’s a non-profit organization. And we like seeing “Poets” listed first and foremost. Yes, there’s lots here of a general note for writers but P&W gives attention to those of us who work with fewer words on the page. The Bard would approve.https://www.pw.org/
#9 The Writers’ Union of Canada This website offers writers some free resources, such as lists of Canadian writing-related associations, literary agents in Canada, award programs for self-published authors, and many more links. In addition, the union’s resource books for writers are low-cost and high-value: for example, negotiating your own contract, or estate and legacy planning for writers.https://www.writersunion.ca
#10 Freerice This fun online word game is perfect for writers who want to challenge their brain while helping out a good cause, The Word Food Programme of the United Nations. The ad-supported site generates words with multiple possible meanings. You contribute 10 grains of rice for every correct answer. Increase your speed to raise the stakes and shift out of your comfort zone. Playtime for writers in English, French, Spanish, Italian or Korean! http://freerice.com/#/english-vocabulary/6116
By no means is this a complete list of useful or interesting writerly websites.
What sites have you discovered that other writers will find helpful? Suggest them in the comments section.
One of our most popular workshops has been Write to Win, a full-day focus on writing contests with Dorothea Helms and Ruth E. Walker.
Since Writescape is in the midst of wrapping up the first-tier judging of our own writing contest, we thought it might be fun to share one of the tip lists from that workshop.
Here’s the Top Ten Tips to Avoid Winning Writing Contests:
1. Don’t enter. Contest judges can only assess the entries they receive. Have you ever looked at winning entries and thought that your story is just as strong–or maybe stronger? Dorothea and Ruth have both been judges for regional, national and international writing contests. And frankly, we’re not always looking at the very best writing. You never know who has entered, how strong your work is in comparison and what might catch a judge’s eye. In short, you are guaranteed never to win–if you don’t enter.
2. Exceed the word count for prose or line count for poetry. Word counts are there for a reason. No matter how brilliant your words are, if there are more than the contest limit, you are disqualified. Read the guidelines and follow them.
3. Forget to include the entry fee. Online submissions often make this part easy but sometimes paying the entry fee is a separate step. And there are still a few contests out there that ask for mail delivery. IF you do forget after pressing SEND, you can try to contact the contest administrators and ask if they’ll accept your fee arriving late. NOTE: Dorothea and Ruth will tell you that running a professional writing contest takes time and money (advertising, judge honoraria, etc.) and that the entry fee is meant to offset those costs. For literary journals, writing organizations and other non-profits, contests can be part of fundraising. So it’s a good thing to not forget that fee.
4. Send something inappropriate (e.g. poetry for a prose contest or vice versa). In the same way that you don’t send a thriller novel manuscript to a publisher of children’s literature, make sure you have a submission that fits the contest. As an editor for a literary journal, Ruth received fiction entries to the annual poetry contest. Just like exceeding the word-count guidelines will get you eliminated, ignoring what the contest is about moves your entry immediately to the NO pile.
5. Enter with previously published material if the rules specify that it be original and unpublished. Dorothea and Ruth have each experienced this awkward situation in separate contests. In both cases, the top three winners and honourable mention entries were already informed of their status when one of the winning writers revealed their work had been accepted and published elsewhere. Not only did both of these writers get disqualified but some of the other top three entries suddenly found they “progressed” in the contest. While it was good news, finding out you are now getting the gold medal when you were celebrating silver is less than ideal.
6. Put your name on your submission when the rules specify not to. It’s an easy mistake to make as most writers have their name in the footer or header of their work in draft format. But it will probably get you disqualified.
7. Leave out your contact information. Unless the guidelines tell you to, don’t put it on your entry (see #6) but your cover letter needs to have it. With online submissions your contact info is part of the process. But there are still contests that ask for mail delivery so make sure contest administrators have a way to reach you.
8. “Decorate” your entry, hand-write or use a BOLD or italicized font throughout. Keep your entry professional and simple in appearance and tone. Unless the contest rules state otherwise, default to standard formatting (2-inch margins, double spaced) with Times New Roman 12 pt font. As we’ve noted before : Read the guidelines.
9. Don’t read previous winners to see what a successful entry looks like. Contests are like any kind of submission. You research what the literary agent is looking for in a client. You check out the books a publisher produces to see if your book fits. When you read past winners’ work, you get a sense if your story or poem or novel excerpt might fit.
10. Don’t bother to double check before pressing SEND. Oh the agony. We’ve all done it, haven’t we? Been so confident our work was ready. Or so tired and it’s 10 minutes to deadline. Or so distracted and busy we just want to get it done. And we do. We press SEND. And then we read the entry at some later point and slap the side of our head because the typo in the third paragraph is YELLING at our eyes. So. Stop. Think. If you can, put it away to look at one last time tomorrow. And then press SEND. Or drop the envelope into the mailbox. Because, you know, #1 on the list.
When your usual source of inspiration has packed up and moved elsewhere or just thinking about sitting down to work on your writing feels more like a chore than a delight, it may be time for you to escape somewhere to write.
Of course, we’d love it if you joined us at our annual writers retreat Spring Thaw this April but there are other options. From renting a cabin in the woods to pitching a tent in the backyard, there are ways to arrange your retreat from the world. No matter your choice, it’s up to you to get inspired once more and put your focus on your work in progress.
Here’s 10 signs that just might be
pointing to your need to get away and write:
1. Facebook, Twitter and Pinterest are far more interesting than your current work in progress…even if you fooled yourself into thinking you might find inspiration from other writers posting their success stories.
2. When friends or family ask you how your writing is going, you change the subject. Repeatedly.
3. You spend a lot of time looking up recipes to at least be creative somewhere. That soufflé might be amazing but it won’t look great on your bookshelf three years from now. Your book will.
4. Your day job drains every ounce of creativity you once had and even the days off are lost causes. You yearn for vacation time but then remember that it’s booked up with family events.
5. The name of your main character is hard to remember…or the working title of your book…the name of the antagonist…or why you set a science fiction novel at a seaside resort…it’s all so vague now.
6. You have nightmares about winning the Giller Prize where everyone boos and calls you a hack and they take the cheque back. Really? Doesn’t every writer have that nightmare?
7. You yell “plot hole!” repeatedly at the television and then worry your novel is nothing but plot holes.
8. You can no longer imagine your book being published — in fact, you’ve forgotten why you started the darn thing in the first place.
9. The noise level at home is a constant distraction: kids, pets, neighbours, the dishwasher — you name it, there’s no quiet zone to just reflect.
10. You avoid meeting up with other writers to avoid hearing how well it’s going for them. Not that you don’t care, but really, it is hard to take when you’re in a literary sinkhole of nothingness.
Some of these may be a bit tongue-in-cheek but there’s a ring of truth in all of them. We know, because we’ve experienced them in one form or another. That’s why we offer our escapes.
And for 2020, we’ve opened our country properties to writers who want a self-directed or supported writing escape. Choose from a cozy lakeside home in the Northumberland Hills or a traditional riverside cottage in the Haliburton Highlands. Send us an email at firstname.lastname@example.org for more details.
There are probably 110 signs that a writer needs a writing retreat. Add to our list in your comments.
You can’t tell a book by its cover but you can hint to readers what the story is about. The choice of text, colour, font and images carry messages for potential readers and can either invite or dissuade purchasers from picking up your book. Many authors are choosing to self-publish or publish cooperatively and sometimes they miss the mark with their covers
You can’t control how a reader will react to your story but you can entice them to at least turn the first few pages with a great cover. Once they’re inside, well, the rest is up to you and your story, author.
1. Start by considering your genre: science fiction, fantasy, mystery, memoir, history, self-help, instruction manual — for each genre, readers will respond to clues you plant with your cover about the genre
2. Look at other book covers, especially those in your genre. Remember that traditional publishers don’t always get it right when it comes to book covers so look for books that were bestsellers for debut authors. Covers for established bestsellers don’t have to work as hard as that first cover and for series book covers, they take on a kind of cookie cutter appearance.
3. Think about the overall book structure: is this a standalone book or one of a series. If it’s the first in a series, you are free to establish the “look and feel” of your cover, knowing that you’ll continue that with the subsequent titles. BUT if it’s the second book, everything you do should somehow connect back to the first cover — the same font and title — the overall appearance should echo the series
4. Consider your concept: complex plot or character driven — this will affect the images you choose — character-driven should give us a “person” as the central focus; but if this is a complex plot, intriguing illustrations or images may take the forefront
5. What about the mood of your book: high stakes excitement or slow unfolding discovery — deciding on this will help with colour palette for the background and the fonts. Too many self-published authors choose a colour for their cover text that disappears into background colours. You want readers to notice your title and your name. If they’re squinting before they open the book, they are already in a negative space.
6. Use images that carry an element of your story: pictures, illustrations, and signs can be integral to your book cover. A springtime tree suggests new beginnings, growth. A barren tree suggests an empty life or one about to end. There are images that symbolize just about anything and photos that can evoke all sorts of ideas and emotions.
7. Experiment with fonts — once you found those perfect images, look for the type of font to match. Horror writers will choose a different font from a romance writer. But what if it is a horror with a romance at its heart? It can get tricky to choose the best style of text for your cover. And what looks good in small type can be ghastly in large letters plastered on the front of your book. Keep going back to existing book covers in your genre and look at the fonts they chose.
8. Mock up your cover — place the image(s) on “dummy” book — print out the image in different sizes and move it around on the blank surface. Of course you can do this digitally but it is not the same as seeing it in trade paperback or hard cover size. See how different lights affect the look. Think about high gloss versus matte finishes. It will all make a difference.
9. Print out the cover text with different fonts and font sizes then try out various layouts with the images and colours you choose. Will your name be on the bottom? Will the title fit on one line? Or is breaking it into two lines more eye-catching? Remember, this is experimentation and will take time until you feel you’ve got the final cover. But this a huge part of your marketing plan: your book title and your author name.
10. Many readers go to the back cover before reading anything inside. So open up that mock up to create the back cover and the spine. Again, you can do this all digitally but what’s the fun in that if you don’t have a tactile connection with your cover? You’ll need to spend some time deciding on what compelling text you’ll add to that back cover. Often, it’s a variation of your pitch, your logline, your #pitmad golden egg that you slaved over to help promote your book.
Your story may be dynamite, but stylistically these energy zappers could be undermining it. They’re subtle but can do damage nonetheless. Avoid them to add energy, or use them to dampen when you want to.
“Is not” and “do not” sap energy, because readers prefer to hear about what something is or what someone does. Often negative construction is paired with weak verb choices too.
Ralph did not like the way Bill treated Liza. Better: Bill’s treatment of Liza disturbed/disgusted/horrified Ralph.
Be confident about what you write. Is your character walking or not? Is the baby crying or not? Did Jimmy understand or not? Using started to/began to/seemed to constructions weaken the action.
Tom started to get up and close the door. Better: Tom jumped up and closed the door.
Unnecessary tags in internal dialogue
When we are “in the character’s thoughts” seeing, feeling and hearing what the character sees, feels and hears, using “I see”or “I hear” or “I feel” is unnecessary, and distances the reader and lowers energy.
I hear a phone ring in the telephone booth. Better: A phone rings in the telephone booth.
Avoid turning an action word into the subject of the sentence i.e. using the noun equivalent of a verb. To up the energy, re-order the sentence to let the verb do the work.
They had a discussion about . Better: they discussed
Re-order the sentence to eliminate these “weakeners”: need to; should; might; could
You need to get motivated. Better: Motivate yourself.
Neutrality – non-human references.
Readers feel close to people not things. So whenever you refer to a person in a non-human way, you distance the reader.
If you're the type of individual who likes luxury, Gateway Spa is for you. Better: If you love luxury, Gateway Spa is for you.
So easy to do. How often do we hear
about the new baby; or joining together. By default, babies are “new”;
joining things results in them being “together”. Restating the obvious sucks energy.
Sam kneeled down to examine the sword Better: Sam kneeled to examine the sword
Passive construction /Grammar expletives
No, we aren’t talking swear words
here. In grammar circles, a grammar expletive is any word or phrase that does
not contribute meaning. The most common culprits are: It is; there are; there
is; etc.at the beginning of a sentence.
It is two hours before the sun rises. Better: The sun rises in two hours.
Really, very, so.What is the difference between a tasty dinner and a really tasty dinner? If you want a degree more of tastiness, use a stronger verb rather than an intensifier. A delicious dinner.
He knew Dana was very smart. Better: He knew Dana was brilliant.
Latinate vs. Anglo-saxon words
Latinate words (those ending in -ate. -ite. -ation and other Latin bases) usually refer to areas of law, administration; government and abstraction. It’s a throw-over from the days when England was governed by Rome and later by France. Anglo Saxon words were the tongue of the governed, the workers – words to do with farming and labouring. That’s why they carry a more earthy energy.
He excavated a cavity. (Latinate) He dug a hole. (Anglo-Saxon)
Dialogue is not filler, nor is it secondary. For readers, dialogue is the illusion of active listening, of ‘looking’ from person to person as the conversation unfolds. There are technical effects from dialogue that support and enhance your story. The following 10 on the 10th blog shares some examples of the important work of dialogue:
1. Develop Plot: To ensure you’re not writing “filler”, give your characters dialogue that moves the plot forward, develop scenes.
"Pete, meet me at Crawley's barn at sunset. I'll bring Billy." "Want me to bring a gun?" "Nah. If I find Billy before sunset, we won't need one."
2. Move in Time: When the story needs to shift into a new scene, or you want to cover a period of time without going into detail about that period of time, offer a line that sets up the new scene:
“Good then. I’ll see you next week." or “So it's settled, we leave at dawn.” or "Give me an hour or two and I'll call you back."
3. Reveal underlying tensions: Characters, like real people, have emotional baggage and secrets. Dialogue can give a clue that a character has something they’re hiding.
“Just what did you mean by that?” she asked. He shrugged. “Nothing. Now let’s just move on, okay?”
4. Enrich themes/mood: Characters can help readers pick up on the mood of a piece by what they say.
“I hate this damp and cold. And those dark clouds can only mean we're in for more rainfall.” or "Come on, Charlie. Let's jump in every puddle we see."
5. Echotime/era/culture: Dialogue can add authentic details to bring out the story’s genre, culture or time period.
“Ach, lass. Will you no be gettin’ down from there?” or “My lady, 'tis unseemly to be about at this late hour.” or "Golly. Is that one of them new tellyvisions?"
6. Establish setting: Setting a scene through description alone can turn into a laundry list of what can be seen. Let dialogue do some of that work so that readers get enough detail to fill in the rest. More importantly, let dialogue help readers to stay connected to characters by “seeing” what they see and with the emotion they see it.
"Zargon! Power up the hyperchute—enter that wormhole!” or "Bring me that beautiful leather bound volume from the top shelf." or "Careful now! Mind you don't step in that stinking muck."
7. Imagine geography: Not all stories need large scale world-building but many fantasy, science fiction or quest stories will involve creating a world that readers can believe in. Dialogue helps to make it real because it’s real to the characters.
“Wait. I think I see a body of water through the trees.” or "This map doesn't show......." or "That desert's got to be five day's walking or more. And not even stones or scrub for cover."
8. Reveal facets of character: Dialogue is an active way to reveal character emotions, backstory and motivations.
"Please don't leave me alone with him; I can't go through that again.” or “How amusing. You dare to speak. Guard—kill him.” or "I'm going to tell you a secret...."
9. Focus on dynamics: How chracters talk to each other reveals not only clues about each character but also about their relationship with one another.
“You just can’t leave me alone, can you?" “Ah, but if I did, you’d start to hate me all the more.”
10. Show don’t tell: Dialogue is one of the easiest ways to give tired prose an energy lift, and turn “Tell” into “Show”. And that includes the body language and action beats in between the words. It’s dramatization that the reader can be immersed in, can “hear”, “see” and therefore feel.
Tell: Her father was abusive, but she had long since stopped caring.
Show:"Jesus girl. What's this slop ya call dinner?" Pa swiped the dish from the table. Ma's best china plate shattered against the door. "And look what ya made me done now, ya good-for-nothing..."
Mary scooped up a shard and turned to face him, looked Pa square in the eyes. "You can break me all ya want, Old Man, but ya'll never touch another thing what belonged to Ma."
fall! We love this season of harvest and slanted light and cozy fires. What
better time to curl up with a good book. As Stephen King so wisely reminds us “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.”
So here is an autumn tribute to Canadian authors. You’ll find fiction, non-fiction, memoir, short stories, YA, poetry and children’s books, all united by this wonderful season. Happy reading!
Winner 2018 Hilary Weston Writers’ Trust Prize for Non-fiction. A memoir about Lizzie the so-called difficult child. By looking after her parents in their final decline, she hopes to prove that she can be a good daughter after all.
2017 Windham-Campbell Prize; Winner 2015 Scotiabank Giller Prize A dark comic novel that explores what is real. Alfred Homer takes a journey during the “hour of the wolf,” that time of day when the sun is setting and the traveller can’t tell the difference between dog and wolf. It is a land of house burnings, werewolves, witches, and plants with unusual properties.
More than a cookbook, Homegrown celebrates what
makes Canadian products unique and why “Made in Canada” stands as a
mark of excellence. Recipes alongside humorous stories and sidebars showcase
the best of Canada.
In this YA novel set
during the troubled period of Quebec’s and Canada’s history in October 1970,
young people deal with gruelling factory work, unemployment, harsh police and
military action, and imprisonment, but also, hope, political commitment and
2014 Shortlisted for Governor General’s and Longlisted for the Scotiabank Giller. Set in Montreal and told in three voices, My October is the story of a family torn apart by the power of language and of history. Hannah is the daughter of a man who served as a special prosecutor during the October Crisis, and her husband Luc is a novelist. Their troubled son, Hugo, commits an act that sets them on a collision course with the past.
This lyric poetry
a Greek-Canadian poet who emigrated to Vancouver in 1973, is about longing and
desire through the passing seasons. The poems have a Mediterraean flavour and
were originally written in Greek.
The world is richer for its artists, not the least of which are the writers. In every country, indeed in every nook and cranny of Planet Earth, you’ll find storytellers, word spinners and scene makers. For many writers, there are places on the planet that will forever be associated with them. The following list offers you 10 writers with whom place has a connection — whether they wrote in that place, or wrote about that place — the connection is clear.
As with all our 10 on the 10th lists, this one is not complete by any means. But it is, we hope, an interesting list.
1 Havana, Cuba — ERNEST HEMINGWAY; The Nobel Prize winning author wrote seven books during the 30+ years he lived in Cuba. Among them: The Old Man and the Sea; A Moveable Feast; Islands in the Stream. Ten miles east of Havana, his island home, Finca Vigía (Lookout Farm/House), is now a museum and a place to imagine his inspiration.
2 Huron County, Ontario — ALICE MUNRO; Nobel Prize for Literature winner, Munro’s short stories are most often grounded in Huron County, Ontario, Canada. The fall is a lovely time to drive through Huron County and visit Wingham where her childhood home is still standing. Dozens of small towns are scattered throughout the rich farmland and it is the ordinary lives of those ordinary people Munro writes about in the most extraordinary way.
3 London, England — CHARLES DICKENS. Take a literary pub crawl through London Town with Dickens (as portrayed by an actor/tour guide) and glean inspiration and literary tibits. Tourists are invited to visit the public houses and taverns frequented by great writers. They promise you’ll meet Dylan Thomas, Virginia Woolf, George Orwell, Anthony Burgess, T.S. Eliot and others. And support new London writers! (We really liked that last bit.)
4 North Bay, Ontario — GILES BLUNT. Thinly disguised as Algonquin Bay, the detectives in Blunt’s wildly successful crime novels travel streets with familiar names for anyone who knows North Bay. His Detective Cardinal series of books and now a 3-season television series is set (and mostly filmed) in the city perched on the shores of Lake Nipissing, 2 hours north of Algonquin Park. Blunt’s characters are believable and the dynamic between Detective John Cardinal and Detective Lise Delorme adds spice to the rising tension in each mystery. Blunt, also a screenwriter and poet, was born in Windsor, Ontario and raised in North Bay. Lucky for readers, even after he moved away, he recognized how ideal it was for setting a murder mystery there.
5 Georgia, USA — FLANNERY O’CONNOR; The childhood home of O’Connor is in Savannah, the heart of which boasts some of the finest restored urban antebellum mansions. The South is the heart of O’Connor’s stories and she is unflinching in her tales of what some called “Southern Gothic” and even, “grotesque.” O’Connor said: “anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic.” She lived out the last 12 years of her too-short life in Milledgeville, Georgia.
6 Trinidad — RABINDRANATH MAHARAJ; Born and raised in George Village, Tableland, Maharaj came to Canada because he wanted to attend a masters program in creative writing. But he found that the distance from Trinidad gave him a new perspective with which to write his novels and short stories. His award-winning novel, The Amazing Absorbing Boy, captured the view of Canadian life through the eyes of an immigrant Trinidadian teenager. So while some of Maharaj’s stories and novels are set in the lush tropics of Trinidad, beautifully described so that readers will want to visit, the island flavours even his books set in Canada.
7 Montreal, Quebec — MORDECAI RICHLER with a dash of LEONARD COHEN; Montreal is a city of creatives. Artists, poets and novelists have made this cosmopolitan city their own. Chief among them, Mordecai Richler, one of Canada’s best known writers who has left a legacy of literature. Like the vivid energy of his hometown, Richler was never a background player and spoke his mind freely. That same energy was found in his characters and storylines. His award-winning novels have been made into films — The Apprenticeship of Duddy Kravitz and Barney’s Version — and Richler’s books remain in bookstores today. In 2015, Richler was posthumously made a “citizen of honour” in the city of Montreal and a library in the neighbourhood he portrayed in The Apprenticeship of Duddy Kravitz, was given his name.
8 Ameliasburgh, Prince Edward County, Ontario. AL PURDY; In 1957, poet Al Purdy with his wife and father-in-law constructed the now famous A-frame.(Al tells the story in Reaching for the Beaufort Sea.). There he wrote poems about the area published as Poems for All the Annettes . The following year The Cariboo Horses won the first of Al’s Governor General’s Awards. Even while the A-frame was being built, it became a meeting place—for poets, for poetry lovers, for those aspiring to be poets. The list of people who travelled to the A-frame reads like a who’s who of Canadian letters—Margaret Atwood, Michael Ondaatje; Earle Birney, George Bowering, Margaret Laurence, Jack McClelland, …. The legacy continues through the A-Frame Residency Program.
9 Lakefield, Ontario — MARGARET LAURENCE; One of Canada’s finest writers, Laurence’s novels, short stories and essays were framed by the many places she called home. Born and raised in, a small town well west of Winnipeg, Laurence set her books in Western Canada, Somaliland and Nigeria, Africa. In 1973, she settled permanently in small town Lakefield in the Peterborough/Kawartha Region. On the shores of the Otonobee River, she crafted scenes for her final and brilliant novel The Diviners. The town of Lakefield honours Laurence every July (her birthday month) with a literary festival.
10 Neepawa, Manitoba. MARGARET LAURENCE Yes. That’s two places for one writer and why not? Laurence’s childhood home in Neepawa is a museum dedicated to her and her writing. Purchased the year before her death, Margaret Laurence House hosts writers’ workshops and book launches. As an inspiring mentor to several young writers, Margaret would surely be pleased to know she continues to encourage writers to explore their craft.
Inspirational quotes are great for lifting the mood or motivating us to get back into our writing. But today, we give you 10 quotes from creative people that resonate for the craft of writing.
Good writing is remembering the detail most people want to forget. Don’t forget things that were painful or embarrassing or silly. Turn them into a story that tells the truth.―Paula Danziger
Dimension means contradiction: either within deep character (guilt-ridden ambition) or between characterization and deep character (a charming thief). These contradictions must be consistent. It doesn’t add dimension to portray a guy as nice throughout a film, then in one scene have him kick a cat.—Robert McKee
Theme vs. Message
Theme is also not the same as message. A message, by my definition, is a political statement. It is a principle that concerns people in a particular situation and is not universally applicable to any member of the audience.—Michael Hauge
Get out of your own way
It took time to learn that the hard thing about writing is to let the story write itself, while one sits at the typewriter and does as little thinking as possible. It happened over and over again, and the beginner learned—when you start puzzling over an idea, and slowing down on the keys, the writing gets worse and worse.—Richard Bach
When you insert a hint of what’s to come, look at it critically and decide whether it’s something the reader will glide right by but remember later with an Aha! That’s foreshadowing. If instead the reader groans and guesses what’s coming, you’ve telegraphed.—Hallie Ephron
Get right in there
…if you’re intruding too much on a character or the voice of a character, [or] if you find that you’re stepping back from that character and that situation and you’re commenting on it–you’re not doing your job. You need to be as true and as empathic to that moment as possible. You can’t be at a remove.—David Margulies
Realism vs. Verisimilitude
Is realism what people read novels for? No. A novel must have verisimilitude, that is, the appearance of reality, within the context of the world created by the book. —William Bernhardt
The road to hell is paved with adverbs.—Stephen King
Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.—Kurt Vonnegut
Writing Like No One is Looking
…write without looking over [your] shoulder. Write it as if no one is going to read it. That’s what frees you. If you can stop thinking about critics, and your editor, and whether your book’s going to make it into the Times, and how long it is going to be on the list, I mean, that can totally free you up.—Terry McMillan