A Starlit Story Gift

Ruth E. Walker

Writers discover their stories in so many ways that it isn’t possible to list them all. An overheard conversation, an article in a newspaper, a name on a gravestone, a lived experience, a visual prompt, a first line in a writing exercise…the path to the writer’s muse can appear and take hold without warning. And suddenly–KAPOW!–the pen cannot be stopped until the tale is told.

And sometimes a writer is given the gift of a story. Heather M. O’Connor, a longtime friend of ours at Writescape, received such a gift a few years ago. The result? A timeless and beautiful book that belongs on everyone’s bookshelf.

I asked Heather a few questions about her new book and where it came from. Heather is a natural storyteller but this story wasn’t hers to tell. At least, not hers alone.

Where did you discover this story?

It all started when Ontario Parks asked me to write a blog post about the Ojibwe Horse. I’ve always been a horse-lover, so they had me at “horses.” But when they said, “nobody knows about them”, I knew it would be something really special.

And it was. The Ojibwe Horse is an endangered semi-feral breed of horses that once lived in harmony with the Ojibwe people. The last four survivors were rescued from extinction, and spirited to safety. It had all the elements of a good story, even a happily-ever-after homecoming.

I finished the blog post, but the horses wouldn’t let me go. This wasn’t just a cool story. It was an important piece of Indigenous history. So I applied for a Marion Hebb Research Grant from Access Copyright and travelled up to Quetico Provincial Park to meet the horses for myself.

That’s where I met Darcy. As they say in Casablanca, “it was the beginning of a beautiful friendship.”

Why didn’t anyone else write this story? In other words, why did Darcy Whitecrow and Heather O’Connor decide to write this book now?

Darcy Whitecrow
photo credit Ontario Parks

That’s a good question. Darcy is Ojibwe. He started an equine program at Seine River First Nation to help the youth in his community get in touch with their traditional heritage. But it’s just one ranch in one First Nation community. And I thought, there’s only so much Darcy to go around. What about all the other kids? How will they learn about this proud piece of their heritage?

And I wanted to help Darcy spread the word about the horses and the important work he’s doing. There are only about 150 left, and caring for them is very expensive. I couldn’t breed them or train them. But I could help Darcy’s words travel farther.

How difficult was it to write the book? Co-writing is not straightforward and you have a strong narrative voice of your own – did you have to decide on how best to get the story down on paper, writing as a team?

I actually went to Quetico planning to write a middle grade novel about a ranch. But I couldn’t get Darcy’s voice out of my head. He’s a born storyteller.

So I came up with the frame for the story — a grandfather teaching his granddaughter the history of the horses. But the history? That’s all Darcy — sometimes verbatim. And one line comes from an oral history we received from his friend Mike Ottertail.

The oral tradition is very strong in Darcy’s culture. Essentially, he taught me the story until I could tell it myself, very much like the grandfather in the book.

Was it a challenge to find a publisher – the right publisher – to publish this book?

It wasn’t, actually.

Second Story Press was creating these beautifully illustrated dual-language picture books. I’d read a couple — Missing Nimama and Stolen Words, both written by Melanie Florence. They were wistful intergenerational stories about culture and loss, themes that run through Runs with the Stars, too.

When I noticed that Katherine Cole, Second Story’s editor at the time, was doing blue pencil sessions at CANSCAIP’s [Canadian Society of Children’s Authors, Illustrators and Performers] Packaging Your Imagination Conference, I signed up to see her. She loved the manuscript.

Where did the title come from?

Wiijibibamatoon-Anangoonan (Runs with the Stars) is the Ojibwe name given to the foal born at the end of the story. All Ojibwe Horses receive an Ojibwe name to honour their heritage.

Who is the ideal reader for this book?

Runs with the Stars is aimed at kids aged 3-8. But it could also be used to teach Indigenous history in classrooms up to Grade 6. After all, who doesn’t love a good horse story?

What hopes and dreams do you have for “Runs With the Stars”?

This is Indigenous history, so I hope it’s read in First Nation classrooms and used in traditional language programs. I’d love to see elders sharing it with kids, and kids reading it to parents who maybe lost their language in residential schools. I hope it stirs memories and starts conversations.

Anything you’d like to add?

If you’d like to meet two Ojibwe Horses, come to Abbey Gardens in Haliburton on Saturday, June 18. They’re holding a big family event with a book signing. Stay posted for the details.

I’m also having a horsey-themed book launch at Blue Heron Books in Uxbridge on April 30 10:00 to 11:30 a.m. I’d love to see you there!

Where can we purchase the book?

Runs with the Stars and Wiijibibamatoon-Anangoonan come out May 3. They’re both available for pre-order at your favourite independent bookseller.

Heather M. O’Connor is an award-winning freelance writer, editor and author. Her first picture book Fast Friends, illustrated by Claudia Dávila, was published by Scholastic Canada in 2020. Betting Game, her debut novel with Orca Books, was published in 2015. She also writes short stories, fantasy and historical fiction. Heather lives in Peterborough, Ontario.

Blog feature image: Ontario Parks

Rearranging The Bookshelf

Ruth E. Walker

A recent exchange of ideas on Facebook in a writers’ group page caught my interest. In short, a post from a writer was asking other writers if they felt “pressured” into including “LGBTQ” and “mixed race” characters into their stories.

The writer went on to suggest that the immensely popular (and rather sexy) Bridgerton series on Netflix was an example of political correctness because, despite being set in 1815 England, it included persons of colour among the aristocracy and upper classes. Oh my.

For me, it was a bit of head-scratcher. Casting on Bridgerton is, among other things, meant to challenge viewers to rethink history and imagine what might have been. It was a delightful binge watch and, frankly, it didn’t take too long for me to absorb the fiction of the tale and just sit back and enjoy the story.

No pressure here

I don’t feel pressured to include characters of colour or of indigenous heritage or those who are LGTBQIA2S+ any more than I feel pressured to write in a particular genre or narrative tense. I write the stories I’m meant to write with the characters who show up.

And isn’t that the role of fiction? To entertain, yes. But also to hold up the mirror and see us as we are? And what better way to remind us what we have lost over the years of separation and “difference” versus inclusion and shared visions? Bridgerton was refreshing.

I do know that books by marginalized authors are sorely underrepresented on mainstream bookshelves. So it makes sense to me that, as an understanding of an underserved market dawns on agents, publishers and booksellers, the demand for those books will increase. Rightly so.

But they are not books being written for any underrepresented groups. They are for everyone. Remember that those books will show us who we are. Those writers will hold up the mirror for us to see ourselves — ALL of us who make up our country. High-quality books will arrive on the bookshelves, some will be made into films or inspire television programs or win prestigious literary prizes. But more importantly, they will be read by a diverse, engaged audience.

It’s Black History Month in Canada

Black History Month in Canada was proclaimed nationally in December 1995, when the House of Commons officially recognized February as Black History Month. There’s more than a proclamation needed to create understanding. But it was part of a journey we’re all still on and there’s lots to learn.

For example, this week I learned that the church that Harriet Tubman attended in St. Catharines, Ontario, while tirelessly rescuing others through the Underground Railroad, still stands. The Salem Chapel counted Harriet “Moses” Tubman as a congregant from 1851 to 1862, at which point she returned to the United States.

According to the the church’s website: the majority of her clandestine Underground Railroad rescue missions started and ended in this British Canadian town. In 1868, when asked where and why she guided the freedom seekers, Harriet Tubman said, “I would’t trust Uncle Sam with my people no longer; I brought them all clear off to Canada.”

Want to learn more about Harriet Tubman? Cornell University features a selection of several biographies. She may soon appear on the US $20 bill, but this courageous woman left a lasting influence on Canada and our history. And I, for one, didn’t even know that much. Clearly, I need to expand my reading choices.

Back to writing

So what does diversity in publication mean for non-marginalized writers? You must still craft the stories you are inspired to write. But it’s time for the majority of us to make room for those who have had fewer opportunities to have their words heard.

And if you want to expand your reading library, check out 49th Shelf online, a curated resource of Canadian books with a wide range of categories to choose from. From diversity and inclusion in Young Adult to African-American fiction, 49th Shelf is open for readers to discover a treasure trove of homegrown writers.

Publishing LGBTQ

Gwynn Scheltema

June is Pride month, so this week I thought I’d take you on a short Canadian tour and introduce you to a few Canadian publishers who regularly publish LGBTQ books by Canadian authors.

Harlequin

First stop: Toronto. Head quartered in Toronto, Harlequin publishes around 100 titles a month. Yes, that’s right…100 books! They publish paperbacks, ebooks and audio books. One of their many niches is one they describe as “gay romance”. June 2019’s titles include a lesbian romance: New Ink on Life by Jennie Davids and a gay romance by Adriana Herrera, American Fairytale.

Submissions Guidelines

Arsenal Pulp Press

Out to the West coast now to meet this Vancouver publisher that regularly publishes LGBTQ work including books by Canadian authors S. Bear Bergman, Ivan Coyote, Amber Dawn, Vivek Shraya, and Kai Cheng Thom.

They also have a series made up of out-of-print queer titles called “Little Sister’s Classics”. If that name sounds familiar, it’s likely because it reminds you of Little Sister’s Book & Art Emporium, in the heart of Vancouver’s gay district on Davie Street. They have been around for years and were legendary in taking on Canada Customs to have gay literature declassified as porn.

In March this year, five Arsenal titles were nominated for the Lambda Literary Awards, (writing prize for LGBTQ authors) The nominees were Jonny Appleseed by Joshua Whitehead, Little Fish by Casey Plett, Sketchtasy by Mattilda Bernstein Sycamore, Sodom Road Exit by Amber Dawn, and The Tiger Flu by Larissa Lai.

Submission guidelines

Insomniac Press

Back to Ontario—London to be precise. Insomniac Press has evolved over the last 25 years from a small press that published poetry chapbooks, to a medium-size independent press that publishes non-fiction titles as well as fiction and poetry sold in 40 countries.

Insomniac has also become known for its special niche areas like black studies, personal finance and gay and lesbian books. They publish two queer mystery series by writers Liz Bugg and Nairne Holtz. Insomniac’s anthology No Margins: Writing Canadian Fiction in Lesbian, features a whole host of LGBTQ authors.

Just released is Rinaldo Walcott’s book of essays Queer Returns.

Submission Guidelines

Metonymy Press

Heading over to Quebec, we find Metonymy, a newish Montreal-based press that publishes literary fiction and nonfiction by emerging writers. Their website explains: “We try to reduce barriers to publishing for authors whose perspectives are underrepresented in order to produce quality materials relevant to queer, feminist, and social justice communities.”

Two of their books were recently nominated for Lambda Literary Awards: Small Beauty by jia qing wilson-yang and Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir by Kai Cheng Thom.

Submission guidelines

Talonbooks

And lastly, I want to head back to the West Coast to tell you about Talonbooks, because as well as literary fiction and poetry, they publish drama (including the amazing queer writer Tomson Highway), and translations of French texts, (including Quebecois lesbian author Marie-Claire Blais.) Recent publications include novels by Karen X. Tulchinsky and Gail Scott and poetry by Daphne Marlatt.

Last Word

If you are looking for more LGBTQ markets or books, here are two blogs you may want to check out:

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.

Up Close & Personal: Writer Jenny Madore

Jenny Madore didn’t always know she wanted to be a writer. It took packing up husband and kids for a move to the rainforest of Panama for a year and a single copy of “Twilight” to nudge out the writer in her. Shifting from “I could write Bella into a better situation” to “I could write my own stories”, Jenny discovered her passion before moving back to Canada in 2008.

Now the author (J.L. Madore) of a self-published, urban fantasy series where alpha women kick butt and devour the gorgeous male warriors around them, Jenny is working on becoming a hybrid writer and breaking into the traditional publishing market. She is also in her second term as President of The Writers’ Community of Durham Region, a 280+ member umbrella organization that offers networking, promotion and education opportunities to its members.

Writescape caught up with Jenny this week to learn more about her as a writer:

What is the most important thing a self-published writer needs to consider?

That creative minds aren’t always the best prepared to tackle marketing, or websites, or newsletters. Points to self. The effective marketing of a novel once you’ve self-published takes a gazillion hours, dedication, and a thoroughness that some of us just don’t come by naturally. It can be learned, or hired out, but you have to identify your weaknesses and make allowances for them.

For example, I know I have to keep current content on my website to sweet-talk the algorithms of online booksellers and search engines, but when I pull up my website, my last post was for May 30^th . . . of 2015. Yikes. If earning a living at writing was my goal, I’d be upset at how badly I drop the ball at times. Thankfully, writing is my goal. Growing as a writer. Improving. I’ll get back to marketing at some point. Maybe soon. Maybe not.

What does being a “hybrid writer” mean to you?

Honestly, I picture ‘Hybrid’ as being the best of both worlds but can’t say for sure . . . yet. What I like about the idea of straddling the indie and traditionally published worlds is the freedom of one, while coveting the guidance of the other. I’d like to work with house editorial staff and have people picking at the minutia of a story that they see hitting the mark of the ever-changing market. I want to grow. Know what they know. See the things they’re looking for in my own work for future reference.

But not all stories are going to hit the appeal of publishing houses and that’s where indie rules. When I first wrote Blaze Ignites, I shopped it around first. I received rejections saying “great writing but fantasy is in a downturn,” or “Elves just aren’t sexy.”

Hello? Legolas Greenleaf isn’t sexy?

I beg to differ. That’s why I went ahead and independently published that series. I’ve got so many stories circling in my head, I want them out there entertaining people. Well, I hope they’re entertaining people.

What are you working on now and how different is it from the urban fantasy series you started out with?

I’m currently editing the finished first draft of a Roman time-slip historical romance. The working title is, In The Shadow, and I’m very pleased with how it’s shaping up. I found it very different to write historical, because it is an actual moment in time which has been documented and studied by academics and enthusiasts for hundreds, if not thousands, of years.

I put a great deal of pressure and author responsibility upon myself to get the details right. Did a Praetorian wear a white toga or a violet one? What flowers bloomed in ancient Rome in 79CE? When would a patrician woman wear her hair down? What did the streets of Pompeii look like, sound like, and smell like before the eruption of Vesuvius?

The dialogue is crucial to selling the time period (Latin sentences often omit pronouns), as is the setting and, most importantly, how the love story evolves under the stresses and strains of a violent and unhindered society (Sin and shame are concepts which evolved much later in history).

The fantasy series I write allows me freedom to make things up to suit the story. As long as I justify what’s happening in the world, there’s really no wrong answer. It’s freeing and fun. Writing historical fiction offers me a sense of personal satisfaction I hadn’t realized before. When I get it right, it’s really right, and even if the reader doesn’t know it, I do.

How do you balance family life, the volunteer leadership role for a dynamic organization and your needs as a writer?

Balance is the operative word, though it has recently become easier. With my kids grown and newly establishing themselves out in the world as successful young adults, I’m finding my hours are my own for the first time in 23 years. As a full-time, at-home mother and wife, I became accustomed to working with crazy schedules and multi-tasking for the benefit of the collective.

We are Borg.

Those skills translate perfectly into running an organization like The Writers’ Community of Durham Region (WCDR). I want the members to strive for their dreams and have what they need for success. That’s why I initiated Bookapalooza, Skip The Slush Pile Pitches, Blue Pencil Bonanza, Novel Whisperer, etc. I’m available to help if I can, organize events, make concessions if obstacles arise, and ask for help if things get complicated. I love the WCDR and its members. In my mind, the organization is simply an extension of family.

As for my writing . . . well, I’d like to say I set aside time every day, but that’s not always possible. The WCDR is an active, vital organization and when events approach, there is no end to the preparations to be made or work to be done. I can safely say, that I work on my writing often. Sometimes mornings. Sometimes nights. Sometimes just a few moments before I have to start dinner or leave for a meeting. Stories are always in the back of my mind, ideas, characters, and conflicts percolating until I can get back in front of my laptop.

Describe your favourite writing space — what does it look like?

Easy, (looks left and right). I’m on my bed, knees up with my laptop in front of me, a mass of pillows behind me, and a dozen reference books and novels scattered across my comforter and end table. Stryder, my Panamanian dingo dog I brought home from living in the rainforest, is lying beside me, snoring through his doggie dreams, the tip of his tongue slightly out. Perfection.

If you could have dinner with anyone (living, dead or fictional) who would that be?

Ooh, tough one. So many names come to mind for so many reasons. I think it would have to be Amy Sherman-Palladino, writer of Gilmore Girls. Not only is she quirky and odd, (which would make dinner a hoot), she wrote one of the greatest, wittiest, fastest paced, most-heart-warming collection of moments ever seen on television. (Newsroom and West Wing also in that category) The writing of Gilmore girls hits all my buttons: intelligent characters, flawed relationships, unconditional acceptance, family love, romantic love, loyalty, off-beat humour . . . the list is endless. Yep. Amy Sherman-Palladino for sure.

Wow, over so soon. Thank you, Writescape, for inviting me to participate, I had a blast. Annnnnd . . . are you arranging my dinner with Amy? I’m really looking forward to that now.