Exploring “The Law of Attraction for Writers” Podcast with Suzanne Lieurance & Simon Rose

Today, I’m sitting down with authors and writing coaches Suzanne Lieurance and Simon Rose to talk about their brand-new YouTube series, The Law of Attraction for Writers Podcast, which you can find at: https://www.youtube.com/@LawofAttractionforWritersPodca.

The show blends mindset, creativity, and practical writing advice — a combination that’s resonating with writers who want to manifest success and write with more ease.

Nina: Welcome, both of you!

Suzanne: Thank you! We’re so excited to finally share this project.

Simon: Yes, it’s been in the works for a while, and we’re thrilled to see writers already responding so positively.

Simon Rose and Suzanne Lieurance

Nina: Let’s start with the big question. Why create a Law of Attraction for Writers podcast?

Suzanne: Well, over the years, I’ve coached so many writers who say things like, “I’ll feel successful when I get an agent,” or “I’ll write when I have more time.” But the Law of Attraction teaches us it works the other way around — you become the person who already feels successful, and the opportunities follow. I wanted to create a podcast that helps writers understand how their thoughts, emotions, and energy shape their writing lives.

Simon: Exactly. So much of writing is mental. You can have the best outline and still feel blocked if your energy is off. We wanted to show that aligning your mindset with your goals isn’t mystical — it’s practical. You’re essentially training your brain to focus on what you want instead of what you fear.

Nina: How would you describe the podcast to someone who hasn’t tuned in yet?

Simon: Each episode focuses on one key aspect of the Law of Attraction and how it connects to the writing process. We might explore a concept like visualization, vibration, or inspired action — and then show writers how to apply that directly to their writing routines.

Suzanne: We wanted to make it accessible. It’s not just theory or motivation. We give writers clear steps they can take right away — ways to shift their thinking, attract new ideas, or rekindle their excitement for a project.

Simon: We also share personal stories. Between the two of us, we’ve seen these principles in action — in publishing, in teaching, and even in everyday creative decisions.

Nina: I love that you connect mindset with the craft of writing. Can you say more about how that works?

Suzanne: Sure. A lot of writers separate the two — mindset on one side, writing craft on the other. But they’re intertwined. You might know every writing technique out there, but if you’re doubting yourself or constantly telling yourself you’re behind, you’ll block the creative flow.


Simon: That’s why the Law of Attraction is so powerful for writers. It’s not just about “thinking positive.” It’s about intentionally setting the tone for your writing sessions, deciding what kind of writer you believe yourself to be, and letting that belief guide your actions.

Suzanne: In one episode, we talk about “energetic alignment” — how your emotional state affects the words you put on the page. When you write from frustration, the writing feels heavy. But when you write from joy or curiosity, the story expands.

Nina: You’ve both been writing coaches for years. How has it been working together on this project?

Simon: It’s been wonderful. Suzanne brings a very intuitive approach to writing and mindset, while I tend to look at things through a more analytical lens. Together, we strike a balance between the spiritual and the practical.

Suzanne: Yes! We complement each other well. Simon often grounds the big ideas in real-world examples, and I love exploring how energy and focus shape results. It’s a true partnership — and we both learn from each other in every episode.

Nina: Without giving too much away, what are some of the themes or takeaways that keep coming up in your discussions?

Suzanne: One theme that runs through everything is trust — trusting yourself, your ideas, and the timing of your success. The Law of Attraction reminds us that everything unfolds when you’re ready to receive it.

Simon: Another recurring idea is momentum. Writers often stop when things get tough, but energy builds through consistent action. You don’t have to write for hours every day — just focus on showing up with intention. That small shift can open the door to much bigger results.

Suzanne: We also talk about how to handle resistance. Every writer faces doubt or creative slumps. The podcast offers ways to turn those moments into opportunities instead of roadblocks.

Nina: You’ve chosen YouTube as your main platform. Why that format?

Simon: We wanted to make it easy and engaging. YouTube allows us to connect visually and energetically with our audience. Writers can listen while they work, which adds a more personal connection.

Suzanne: And YouTube’s format fits how writers consume content today. Many of them already use it to learn about craft and publishing. This podcast adds another layer — the inner work behind writing success.

Nina: What’s ahead for the Law of Attraction for Writers Podcast?

Suzanne: We’ll keep releasing new episodes every Tuesday. Each one will build on the idea that your energy, focus, and beliefs create your writing experience.

Simon: We’re also exploring live Q&A sessions, where writers can ask questions and share how they’ve applied the principles we discuss. It’s exciting to see a community forming around these ideas.

Suzanne: Ultimately, we want every writer to realize they’re not powerless. They can create not only their stories but also their success.

Nina: That’s such an inspiring message. Any final thoughts for writers who might be hesitant to explore this side of writing?

Suzanne: Just start listening with an open mind. You don’t have to “believe” in anything right away — just try applying one idea and see what shifts.

Simon: Yes. Writing is already an act of creation — you’re manifesting something that didn’t exist before. This podcast helps you see that same creative power working in every area of your writing life.

Nina: Beautifully said. Thank you both.


Watch: New episodes of The Law of Attraction for Writers Podcast drop every Tuesday on YouTube at https://www.youtube.com/@LawofAttractionforWritersPodca

Follow Suzanne Lieurance and Simon Rose for practical, inspiring ways to align your mindset, energy, and creativity — and manifest the writing life you’ve always imagined.

Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing.

An Autumn Walk in an Ontario Forest

Gnarly branches of black locust trees overhang a trail in Trent Forest, ON (photo by Nina Munteanu)

It was a late October morning and I had chosen a less walked trail in the Trent Forest. It was a cloudy day that promised rain from the northeast with dark clouds; but the sun still shone in the southeastern sky through a thin screen, giving everything a bright and soft ethereal quality.

Deeply furrowed trunk of black locust on trail through black locust grove, Trent Forest, ON (photo by Nina Munteanu)

The main walk went first along a lowland of marshy swamp forest, mostly cedars and poplars. The less travelled trail veered up a steep incline and eventually tapered to another drier mini-ecosystem. I felt like I’d entered an enchanted grove with tall and crooked black locust trees, some very thick (a metre or so in diameter) and no doubt quite old. Vines of creepers tangled down from gnarly branches, forming intriguing webs of colour and texture. I adore the bark of the Black Locust tree; It is deeply furrowed and resembles entwined rope. When I touched the craggy light bark of a large tree, I felt its corky lightness. The bark was covered in small moss patches and tiny foliose and crustose lichen in shades of pale green and deep yellow. An entire ecosystem.

Old black locust tree showing rope-like bark covered in lichen, Trent Forest, ON (photo by Nina Munteanu)

Not another soul came by during the time I was there in the black forest grove. In fact, I didn’t encounter anyone on my entire walk in the forest. It was so quiet in the black locust grove. Except for some bird calling—possibly a woodpecker—and the soft trill of several little songbirds, chickadees and warblers, my constant companions.

Trail through black locust grove, Trent Forest, ON (photo by Nina Munteanu)

I felt a quiet calm descent on me like a soft blanket and I didn’t want to leave. But I was keenly aware of the coming storm as the dark clouds billowed closer in gusts of fresh wind and a few raindrops started to spatter down on me. Yet I lingered.

Gnarly branches of black Locust tree arc over the trail, Trent Forest, ON (photo by Nina Munteanu)

I got home just as the dark clouds opened to a hard rainfall. The rain turned to hail. it came down in thick sheets, bouncing hard on the pavement. By then, I was glad to be indoors with my cup of hot tea.

Upland trail through black locust grove, Trent Forest, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Things You Should Know About Editing an Anthology

Two anthologies edited by Nina Munteanu

A short while ago I was contacted by fellow SF Canada member Lisa Timpf to provide information on an article she was writing about editing anthologies. Lisa’s article, entitled “Anthology Editing: Advice and Insights from Those Who’ve Been There” recently appeared on the Jane Friedman site.

Lisa interviewed two publishers and several editors, including me, on what’s involved in putting out an anthology. The article was thorough and well written and provided useful insight and advice to would be anthology editors. Aspects included: what the job entails, what skills are needed (e.g. storytelling, organization, communication and negotiation, flexibility, the ability to deal with difficult situations, and the willingness to go outside your comfort zone), and the payoffs, of course.

The article covered all stages of producing the anthology, from pitching to a publisher to the process of acquisition and production. She ends her article with “Final Words” of her own reflection and great advice. Lisa draws on Christine Lowther’s advice to be patient and to be “honest about your priorities.” Given how long and involved the process can be (it took three years from call for submissions to final release for the latest anthology I edited), she rightly suggests strongly considering whether you “can dedicate the time and effort to editing without resenting the impact on [your] own writing.”

Lisa then ends with:

“If you, too, are on the fence, consider Nina Munteanu’s reflection on the anthology editing process. As she explains it, ‘Watching the anthology emerge through the slow collection of many outside sources of individual creativity, style and message is akin to watching the birth of a galaxy full of stars—gathered and orchestrated by you but so much more than the sum of its parts—comprising many singular notes of a symphony that together create something wondrous and beautiful.’

How can you say no to that?”

To read the article go to the Jane Friedman site.

Lisa Timpf served as guest editor for Eye to the Telescope 32: Sports and Games. Her book reviews, poems, and short stories have appeared in a variety of venues, and her speculative poetry collection, Cats and Dogs in Space, is available from Hiraeth Publishing. You can find out more about Lisa’s writing and artwork at lisatimpf.blogspot.com, and also find her on Bluesky.

Go to this link to read my review of Lisa’s speculative poetry collection, Cats and Dogs in Space.

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. For the latest on her books, visit www.ninamunteanu.ca. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

My Books Are Feeding Meta’s AI Brat

On March 20, 2025, in an article in The Atlantic entitled “The Unbelievable Scale of AI’s Pirated-Books Problem”, Alex Reisner disclosed how META pirated millions of books and research papers to train their flagship AI model Llama 3 to be competitive with products like ChatGPT. Reasons for this illegal action is simply time; asking permission and licensing takes too much time and is too expensive.

On the same day, The Atlantic provided a link to LibGen (the pirated-books database that Meta used to train its AI) so authors could search its collection of millions of illegally captured books and scientific papers. I went there and searched my name for my novels, non-fiction books and scientific papers and discovered several of my works in their AI training collection.

Two of my many scientific papers appeared in LibGen under my scientific author name Norina Munteanu. The first scholarly article came from my post grad work at the University of Victoria on the effects of mine tailing effluent on an oligotrophic lake, published in 1984 in Environmental Pollution Series A, Ecological and Biological Volume 33, Issue 1. The second article on the effect of current on settling periphyton came from my M.Sc. ecology research published in 1981 in Hydrobiologia, Volume #78.

Three of my thirteen novels appeared in LibGen under my fiction author name Nina Munteanu. I found it interesting how their bots captured a good range of my works. These included two of my earliest works. Collision with Paradise (2005) is an ecological science fiction adventure and work of erotica; Darwin’s Paradox (2007) is a science fiction medical-eco thriller that features the domination of society by an intelligent AI community. The bots also found my latest novel, A Diary in the Age of Water (2020), a climate thriller and work of eco-fiction that follows four generations of women and their relationship to water.

Each of these works has been highly successful in sales and has received a fair bit of attention and recognition.

When Genevieve Dubois, Zeta Corp’s hot shot starship pilot, accepts a research mission aboard AI ship ZAC to the mysterious planet Eos, she not only collides with her guilty past but with her own ultimate fantasy. On a yearning quest for paradise, Genevieve thinks she’s found it in Eos and its people; only to discover that she has brought the seed of destruction that will destroy this verdant planet.

Recognition: Gaylactic Spectrum Award (nominee)

Collision with Paradise is ideal for readers who enjoy dark, introspective science fiction that explores complex moral dilemmas and psychological depth within a lush mythologically-rich setting.”The Storygraph

A devastating disease. A world on the brink of violent change. And one woman who can save it or destroy it all. Julie Crane must confront the will of the ambitious virus lurking inside her to fulfill her final destiny as Darwin’s Paradox, the key to the evolution of an entire civilization. Darwin’s Paradox is a novel about a woman s fierce love and her courageous journey toward forgiveness, trust, and letting go to the tide of her heart.

Recognition: Readers Choice Award (Midwest Book Review); Readers Choice (Delta Optimist); Aurora Award (nominee)

Darwin’s Paradox is a thrill ride that makes you think and tugs the heart.”Robert J. Sawyer, Hugo and Nebula Award winning author of Rollback

This gritty memoir describes a near-future Toronto in the grips of severe water scarcity during a time when China owns the USA and the USA owns Canada. A Diary in the Age of Water follows the climate-induced journey of Earth and humanity through four generations of women, each with a unique relationship to water. The diary spans a twenty-year period in the mid-twenty-first century of 33-year-old Lynna, a single mother and limnologist of international water utility CanadaCorp, and who witnesses disturbing events that she doesn’t realize will soon lead to humanity’s demise. 

Recognition: 2020 Foreword Indies Book of the Year Award (Bronze); 2020 Titan Literary Book Award (Silver); 2021 International Book Award (Finalist).

“If you believe Canada’s water will remain free forever (or that it’s truly free now) Munteanu asks you to think again. Readers have called ‘A Diary in the Age of Water’ “terrifying,” “engrossing,” and “literary.” We call it wisdom.”—LIISBETH

The April 3, 2025 article by Ella Creamer of The Guardian noted that a US court filing alleged that Meta CEO Mark Zuckerberg approved the company’s use of the notorious “shadow library”, LibGen, which contains more than 7.5 million books and 81 million research papers. According to Toby Walsh, leading AI researcher at the University of New South Wales: “As far as we know, there was an explicit instruction from Mark Zuckerberg to ignore copyright.”

This begs the question of the role and power of copyright law.

“Copyright law is not complicated at all,” said Richard Osman, author of The Thursday Murder Club series. “If you want to use an author’s work you need to ask for permission. If you use it without permission you’re breaking the law. It’s so simple.”

If it’s so simple then why is Meta and others getting away with it? For its defence, the tech giant is claiming “fair use”, relying on this term permitting the limited use of copyrighted material without the owner’s permission (my italics).

It would seem that just as Trump trumped the presidency, Zuckerberg and his AI minion bots have trumped the copyright law—by flagrantly violating it and getting away with it—so far (on both counts).

The actions of Meta were characterized by Society of Authors chair Vanessa Fox O’Louglin as “illegal, shocking, and utterly devastating for writers.” O’Louglin added that “a book can take a year or longer to write. Meta has stolen books so that their AI can reproduce creative content, potentially putting these same authors out of business.”

Three of my novels pirated for AI training

Reflecting many authors’ outrage throughout the world, Novelist AJ West remarked, “To have my beautiful books ripped off like this without my permission and without a penny of compensation then fed to the AI monster feels like I’ve been mugged.” Australian Author Sophie Cunningham said, “The average writer earns about $18,000 a year on their writing. It’s one thing to be underpaid. It’s another thing to find that [their] work is being used by a company that you don’t trust.” Bestselling author Hannah Kent said, “If feels a little like my body of work has been plundered.” She adds that this, “opens the door to others also feeling like this is an acceptable way to treat intellectual copyright and creatives who already…are expected to [contribute] so much for free or without due recompense.” Both Kent and Cunningham exhort governments to weigh in with more powerful regulation. And this is precisely what may occur. Nicola Heath of ABC.net.au writes, “the outcomes of the various AI copyright infringement cases currently underway in the US will shape how AI is trained in the future.”

According to The March 20, 2025 Authors Guild article “Meta’s Massive AI Training Book Heist: What Authors Need to Know,” legal action is underway against Meta, OpenAI, Microsoft, Anthopic, and other AI companies for using pirated books. The Authors Guild is a plaintiff in the class action lawsuit against OpenAI, along with John Grisham, Jodi Picoult, David Baldacci, George R.R. Martin, and 13 other authors, but the claims are made on behalf of all US authors whose works have been ingested into GPT. 

The Authors Guild suggests five things authors can do to defend their rights:

  1. Send a formal notice: If your books are in the LibGen dataset, send a letter to Meta and other AI companies stating they do not have the right to use your books.
  2. Join the Authors Guild: You should join the Guild and support our joint advocacy to ensure that the writing profession remains alive and vibrant in the age of AI. We give authors a voice, and there is power in numbers. We can also help you ensure that your contracts protect you against unwanted AI use of your work. 
  3. Protect your works: Add a “NO AI TRAINING” notice on the copyright page of your works. For online work, you can update your website’s robots.txt file to block AI bots.
  4. Get Human Authored certification: Distinguish your work in an increasingly AI-saturated market with the Authors Guild’s certification program. This visible mark verifies your book was created by a human, not generated by AI.
  5. Stay informed. The Authors Guild suggest signing up for the free Guild biweekly newsletter to keep updated on lawsuits and legislation that could impact you and your rights. The legal landscape is changing rapidly, and they are keeping close watch. 

How do I feel about all this? As a female Canadian author of climate fiction? As a thinking, feeling human being living in The Age of Water? Well, to tell the truth, it kinda makes me want a donut*…

 *as delivered by James Holden in Season 3, Episode 7 of “The Expanse”

Aspens in fall, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit  www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

The Green Stories Project Flash Fiction Competition: Epiphanies

The Green Stories Project is running a flash fiction competition for stories under 500 words on the theme of ‘epiphanies’. Submit your story here. The deadline is August 27th, 2025.

The Competition

The writing competition invites writers to submit a story about transformation, when a moment of epiphany causes one or more characters to change for the greener.

The transformative realisation doesn’t have to explicitly mention climate or the environment as long as it inspire behaviours with environmental implications (e.g. food, travel, consumption, gardening, cleaning, etc.), or the story could focus on the benefits of any greener alternative (e.g. environment, health, status, spirit, soul). For more about judging, prizes and terms and conditions, visit their site Green Stories Project.

The Green Stories Project

Their mission is to create a cultural body of work that entertains and informs about green solutions, inspires green behaviour and raises awareness of the necessary transformations towards a sustainable economy.

Green Stories began as a series of free writing competitions across various formats to solicit stories that showcase what a sustainable society might look like. They have run over 20 free competitions since they set up in 2018.

Green Stories engage writers, academics and policymakers in sustainability projects. They also partnered with BAFTA on the #ClimateCharacters project to research whether audiences believe presenting characters with high carbon-consumption as aspirational is still acceptable.

Cedar trees colonize a mossy log, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Through the Portal Anthology Short Listed for 2025 BC Sunshine Coast Writers Award

BC Writers Award 2025 Shortlist for fiction

July 16, 2025, the Sunshine Coast Writers and Editors Society released their shortlist for the Annual Book Award for BC Authors contest.

Given that several of the authors in the anthology are BC writers, Through the Portal: Tales from a Hopeful Dystopia (edited by Lynn Hutchinson Lee and Nina Munteanu) was considered and became part of the short list for fiction.

Learn more about the co-creation of a new narrative through hopeful dystopia. Winners will be announced at the Society’s Art & Words Festival at the Gibsons Public Market on August 23. See the site for more details.

Post Script: On August 23, 2025, “Through the Portal” won the award for fiction. Here is what the judges said:

“Every story in here is a delicious short gem.”

“An ambitious project with an unusual slant of positivity in the face of a dystopian future has turned into a solid piece of work, incorporating a good range of stories, some very literary and abstract, others simple tales of destruction and regrowth or the hope of regrowth.”

“Characters and situations in the selected stories show optimism and the power of the human spirit across a wide array of possible near- and far-term futures.”

“Most of the situations are inherently believable based on what we know about climate, industry, and the powerful politics of denialism.”

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

My Short Story “The Polywater Equation” (Die Polywasser-Gleichung) in “Tales of Science II” Anthology

Author Nina Munteanu holding copy of Tales of Science II (photo by Jane Raptor)

A few weeks ago, I looked into my mail box and found my contributor’s copy of “Tales of Science II” Anthology (edited by Marianne Labisch & Kiran Ramakrishnan) with my short story Die Polywasser-Gleichung (“The Polywater Equation”) inside. Beaming, I did a little dance because the anthology was marvelous looking! And it was all in German! (My mother is German, so I could actually read it; bonus!).

This science-fiction anthology, for which I was invited to contribute, collected seventeen short stories, all based on sound science. Here’s how the book jacket blurb (translated from German) describes the anthology:

It’s all just fiction. Someone made it up; it has nothing to do with reality, right? Well, in this anthology, there’s at least a grain of truth in all the stories, because scientific sponsors collaborated with authors. Here, they looked into the future based on current research What does such an experiment look like? See for yourself what the authors and scientific sponsors have come up with: about finding a way to communicate with out descendants, finding the ideal partner, conveying human emotions to an AI, strange water phenomena [that’s my story], unexpected research findings, lonely bots, and much more. The occasion for this experiment is the 20th anniversary of the microsystems technology cluster microTEC Südwest e. V.

(cover image and illustrations by Mario Franke and Uli Benkick)

In our initial correspondence, editor Marianne Labisch mentioned that they were “looking for short stories by scientists based on their research but ‘spun on’ to create a science fiction story;” she knew I was a limnologist and was hoping I would contribute something about water. I was glad to oblige her, having some ideas whirling in my head already. That is how “The Polywater Equation” (Die Polywasser-Gleichung) was born.

I’d been thinking of writing something that drew on my earlier research on patterns of colonization by periphyton (attached algae, mostly diatoms) in streams using concepts of fluid mechanics. Elements that worked themselves into the story and the main character, herself a limnologist, reflected some aspects of my own conflicts as a scientist interpreting algal and water data (you have to read the story to figure that out).

My Work with Periphyton

As I mentioned, the short story drew on my scientific work, which you can read about in the scientific journal Hydrobiologia. I was studying the community structure of periphyton (attached algae) that settled on surfaces in freshwater streams. My study involved placing glass slides in various locations in my control and experimental streams and in various orientations (parallel or facing the current), exposing them to colonizing algae. What I didn’t expect to see was that the community colonized the slides in a non-random way. What resulted was a scientific paper entitled “the effect of current on the distribution of diatoms settling on submerged glass slides.”

A. Distribution of diatoms on a submerged glass slide parallel to the current; treated diatom frustules are white on a dark background. B. diagram of water movement around a submerged glass slide showing laminar flow on the inner face and turbulent flow on the edges (micrograph photo and illustration by Nina Munteanu)

For more details of my work with periphyton, you can go to my article called Championing Change. How all this connects to the concept of polywater is something you need to read in the story itself.

The Phenomenon of Polywater

The phenomenon started well before the 1960s, with a 19th century theory by Lord Kelvin (for a detailed account see The Rise and Fall of Polywater in Distillations Magazine). Kelvin had found that individual water droplets evaporated faster than water in a bowl. He also noticed that water in a glass tube evaporated even more slowly. This suggested to Kelvin that the curvature of the water’s surface affected how quickly it evaporated.

Soviet chemist Boris Deryagin peers through a microscope in his lab

In the 1960s, Nikolai Fedyakin picked up on Lord Kelvin’s work at the Kostroma Technological Institute and through careful experimentation, concluded that the liquid at the bottom of the glass tube was denser than ordinary water and published his findings. Boris Deryagin, director of the Institute of Physical Chemistry in Moscow, was intrigued and his team confirmed that the substance at the bottom of the glass tube was denser and thicker than ordinary water and had additional anomalous properties. This phase of water had a thick, gel-like consistency; it also had a higher stability, like a polymer, over bulk water. It demonstrated a lower freezing point, a higher boiling point, and much higher density and viscosity than ordinary water. It expanded more than ordinary water when heated and bent light differently. Deryagin became convinced that this “modified water” was the most thermodynamically stable form of water and that any water that came into contact with it would become modified as well. In 1966, Deryagin shared his work in a paper entitled “Effects of Lyophile Surfaces on the Properties of Boundary Liquid Films.” British scientist Brian Pethica confirmed Deryagin’s findings with his own experiments—calling the odd liquid “anomalous water”—and published in Nature. In 1969, Ellis Lippincott and colleagues published their work using spectroscopic evidence of this anomalous water, showing that it was arranged in a honeycomb-shaped network, making a polymer of water—and dubbed it “polywater.” Scientists proposed that instead of the weak Van der Waals forces that normally draw water molecules together, the molecules of ‘polywater’ were locked in place by stronger bonds, catalyzed somehow by the nature of the surface they were adjacent to.

Molecular structure of polywater

This sparked both excitement and fear in the scientific community, press and the public. Industrialists soon came up with ways to exploit this strange state of water such as an industrial lubricant or a way to desalinate seawater. Scientists further argued for the natural existence of ‘polywater’ in small quantities by suggesting that this form of water was responsible for the ability of winter wheat seeds to survive in frozen ground and how animals can lower their body temperature below zero degrees Celsius without freezing.

When one scientist discounted the phenomenon and blamed it on contamination by the experimenters’ own sweat, the significance of the results was abandoned in the Kuddelmuddel of scientific embarrassment. By 1973 ‘polywater’ was considered a joke and an example of ‘pathological science.’ This, despite earlier work by Henniker and Szent-Györgyi, which showed that water organized itself close to surfaces such as cell membranes. Forty years later Gerald Pollack at the University of Washington identified a fourth phase of water, an interfacial water zone that was more stable, more viscous and more ordered, and, according to biochemist Martin Chaplin of South Bank University, also hydrophobic, stiffer, more slippery and thermally more stable. How was this not polywater?

The Polywater Equation

In my story, which takes place in Berlin, 2045, retired limnologist Professor Engel grapples with a new catastrophic water phenomenon that looks suspiciously like the original 1960s polywater incident:

The first known case of polywater occurred on June 19, 2044 in Newark, United States. Housewife Doris Buchanan charged into the local Water Department office on Broad Street with a complaint that her faucet had clogged up with some kind of pollutant. She claimed that the faucet just coughed up a blob of gel that dangled like clear snot out of the spout and refused to drop. Where was her water? she demanded. She’d paid her bill. But when she showed them her small gel sample, there was only plain liquid water in her sample jar. They sent her home and logged the incident as a prank. But then over fifty turbines of the combined Niagara power plants in New York and Ontario ground to a halt as everything went to gel; a third of the state and province went dark. That was soon followed by a near disaster at the Pickering Nuclear Generating Station in Ajax, Ontario when the cooling water inside a reactor vessel gummed up, and the fuel rods—immersed in gel instead of cooling water—came dangerously close to overheating, with potentially catastrophic results. Luckily, the gel state didn’t last and all went back to normal again.

If you read German, you can pick up a copy of the anthology in Dussmann das KulturKaufhaus or Thalia, both located in Berlin but also available through their online outlets. You’ll have to wait to read the English version; like polywater, it’s not out yet.

References:

Chaplin, Martin. 2015. “Interfacial water and water-gas interfaces.” Online: “Water Structure and Science”: http://www1.lsbu.ac.uk/water/interfacial_water.html  

Chaplin, Martin. 2015. “Anomalous properties of water.” Online: “Water Structure and Science: http://www1.lsbu.ac.uk/water/water_anomalies.html  

Henniker, J.C. 1949. “The depth of the surface zone of a liquid”. Rev. Mod. Phys. 21(2): 322–341.

Kelderman, Keene, et. al. 2022. “The Clean Water Act at 50: Promises Half Kept at the Half-Century Mark.” Environmental Integrity Project (EIP). March 17. 75pp.

Munteanu, N. & E. J. Maly, 1981. The effect of current on the distribution of diatoms settling on submerged glass slides. Hydrobiologia 78: 273–282.

Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press, Delta, BC. 584 pp.

Pollack, Gerald. 2013. “The Fourth Phase of Water: Beyond Solid, Liquid and Vapor.” Ebner & Sons Publishers, Seattle WA. 357 pp. 

Ramirez, Ainissa. 2020. “The Rise and Fall of Polywater.” Distillations Magazine, February 25, 2020.

Szent-Györgyi, A. 1960. “Introduction to a Supramolecular Biology.” Academic Press, New York. 135 pp. 

Roemer, Stephen C., Kyle D. Hoagland, and James R. Rosowski. 1984. “Development of a freshwater periphyton community as influenced by diatom mucilages.” Can. J. Bot. 62: 1799-1813.

Schwenk, Theodor. 1996. “Sensitive Chaos.” Rudolf Steiner Press, London. 232 pp.

Szent-Györgyi, A. 1960. “Introduction to a Supramolecular Biology.” Academic Press, New York. 135 pp. 

Wilkens, Andreas, Michael Jacobi, Wolfram Schwenk. 2005. “Understanding Water”. Floris Books, Edinburgh. 107 pp.

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Cats and Dogs in Space

Nina cheerfully showing off copy of “Cats and Dogs in Space” by Lisa Timpf

Recently I was delighted to get in the mail a copy of this fetchy slim book of poetry Cats and Dogs in Space (Hiraeth Books, 2025) with cool cover. In this delightful poetry book, speculative writer Lisa Timpf showcases her talented imagination and insight on our feline and dog companions.  

The slim 70-page book is parsed into four sections inspired by headlines, legends & folklore, the great hereafter, and imaginings of the future. Each section showcases an aspect of these furry characters with great aplomb.

In her poems inspired by headlines, the headlines often speak volumes; like a mini-poem within a poem, they capture the fractal truths we only sense. “The Truth Is Out” inspired from the headline: “Cats classified as ‘invasive alien species’ by Polish institute,” the headline—whether real or imagined—says it all. The poem then proceeds to dissect this possibility with acumen and, of course, humour: Many questions remain, including when did their ships arrive…the next move is up to them. We can only wait to see what our feline overlords have in mind for us.

In Nursery Rhymes for Changing Times, Timpf applies a pithy dry humour to several folklore characters:

Cupboards empty again—
Mother Hubbord’s dog
orders biscuits online

exterminator’s visit just completed—
visiting cat pursues
the Queen’s computer mouse

video of fiddling cat
draws millions of likes—
dish and spoon regret departure

In The Unknown, Timpf muses over the seasons following the passing of a beloved dog. The poem is heartfelt and beautifully metaphoric, pulling at my heartstrings with thoughts of the hereafter and our own journey into the unknown: …a skein of northbound geese, loose=strung, spans across the sky proclaiming, as they go, that we all must trace our path one day into the unknown after.

The ‘Cats and Dogs of the Future’ section is brim with fetchy titles such as The Sand Dogs of Mars and Steampunk Paradise. In A Cat’s Confession, we get wonderful insight into a cat’s psyche, as a cat from the future lists a litany of its transgressions that somehow end not with humility, guilt and apology but with logical recrimination.

Applying an edgy, sometimes warped, sense of humour—required when dealing with cats—and a tender sensibility of animal/human psychology, Timpf’s Cats and Dogs in Space explores the universe of these two species, vividly capturing their unique idiosyncrasies and influence on us from joyful to frustrated, from humorous to sentimental. This volume of poems is so much more than an exploration of cats and dogs in space; it embraces the very spaces they occupy, from the depth of our souls to the many liminal folds of existence.  

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

On Writing: The Blank Page

AI concept art by genaiTechvifySoftware.com

I teach scholarly writing at the University of Toronto through several writing centres; I’m helping students with their assignments in engineering, the health sciences and humanities. All are generating scholarly papers on various topics with various purposes; anything from a critical assessment, literature review, position paper, or reflection essay to a lessons learned document, research proposal, or thesis chapter. Everyone is using some kind of AI when generating, writing and editing their works. And there are plenty of AI tools to choose from. Some of the most common AI tools used by my students include: Grammarly for grammar; Perplexity as a research tool, text summarizer and conversational AI search engine; Paperpal for editing, Google Scholar as a search engine, ChatGPT to summarize works, brainstorm ideas, provide quiz questions, or even generate human-like text in a first draft.

All these assignments are purpose-built and students must successfully address their assignment requirements to succeed. In some ways, the idea, topic and handling of the topic are assigned; the student need only carefully and clearly address it.

But, when creating something new, like a piece of fiction or even a non-fiction article, professional writers are essentially walking into a new world, not restricted by “assignment guidelines or requirements”; they truly must face the blank page.

The blank pages of a notebook (photo by Nina Munteanu)

There’s no precedence for creating a piece of fiction. Yes, certainly inspiration is involved, but the work of something unique must start with a blank page. Professional writers often dread facing the blank page. It even has a name: blank page syndrome, or writer’s block, the feeling of being overwhelmed or even paralyzed by the prospect of starting. Alex Elkjær Vasegaard tells us that “it may come from the fear of not being good enough, of not knowing enough, or of the vastness of the potential ahead.”

I recently read a post on LinkedIn by writing colleague Erik Buchanan, which resonated with me. I asked his permission to quote it here and he gladly gave it:

Just got a recommended post from a marketing person claiming that using AI allows you to get past the hardest part of writing: “the blank page.”

I blocked them, and I’m putting what I was going to reply to them here instead, because they are not a person who will be open to this rant:

If you cannot get past the blank page, you are not a writer.

If you use AI to get past the blank page, you’re still not a writer, and now you’re a thief.

You’re using other writers’ words, fed into an information aggregator and splatted out like a drunk’s meal vomited onto the sidewalk. And you’re scooping it up and claiming it’s fresh food.

You want to write? Write something.

Speaking as one who has written 18 novels (more than half ghostwritten for money), 150 articles, short stories, instruction manuals, sales copy, website copy, commercial scripts, short films and now a feature film (currently being re-written) it’s not that hard.

Using AI means you’re too lazy to learn the craft.

Don’t do it.

A blank page is more than a simple page that is empty. It offers something new, without precedence to write, draw or create. Whether it’s a physical sheet of paper in a notebook or a white space in a digital document, the blank page represents a fresh beginning and wonderful potential for unique creation.

Erik’s point is so Germaine to the creative writing process. The blank page is an open door to possibility; it is a writer’s first step in creating something uniquely their own. Plot, character, setting and language—such as technique, style, words and phrases—certainly make a novel wonderful to read; but it is the unique idea, the spark, the premise and theme that carry that novel into greatness and keep it memorable.

Coming up with first words on a blank page (photo by Nina Munteanu)

Poet Alberto Blanco challenges our notion of the blank page being blank: From the tree it was made from, the rain and sun that allowed the tree to grow, and the people that created it, it soon becomes clear that a blank page contains the whole cosmos.

In “The Blank Page: A Meditation on the Creative Process and Life’s Journey” Alex ElkjærVasegaard describes the blank page as “an expanse of white, unsullied by ink or pixels. It’s the void that calls for creation. It’s the challenge that every artist, writer, and thinker faces. But isn’t that just a beautiful metaphor for life itself?”

Erik, I too would have blocked that marketer. I doubt they are a writer…

“Who then … tells a finer tale than any of us? Silence does. And where does one read a deeper tale than upon the most perfectly printed page of the most precious book? Upon the blank page. When a royal and gallant pen, in the moment of its highest inspiration, has written down its tale with the rarest ink of all — where, then, may one read a still deeper, sweeter, merrier and more cruel tale than that? Upon the blank page.”—Karen Blixen, Last Tales

Maple beech forest in early spring, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. 

Visit  www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

The AI Wave: To AI or not to AI … That is the Question…

I recently ran across a list posted on social media of the 20 most popular AI tools for productivity in writing. I only knew two of them. This heightened my anxiety about what I know and am prepared for in the use of genAI, particularly in academic settings, where I teach writing at university. And it got me thinking why I was so anxious…

I shared the list with my colleagues at the university writing centre and one instructor who was actively following AI tools admitted that they knew only a few of the listed tools as well. They further shared that they were feeling increasingly apprehensive about genAI’s impact on higher education. “It’s hard not to feel overwhelmed,” they ended.

(Photo: Nina writing her novel at a cafe)

This was my exact sentiment: a kind of apprehensive excitement. An understanding that all communicators stand at the precipice of a major paradigm shift in tool use. The ramifications this will have on all aspects of effective and efficient communication will span from redefining plagiarism to reinventing creativity. As with all powerful tools—aside from the obvious threat of misuse—there is always something lost with the gain and I wonder what we are losing with all this. I have some ideas, and they do bother me from time to time.

Applications of Generative AI (image by Neebel Technologies)

I do think it important for me as a communicator and writing instructor to understand the trade offs and to work with them.

When the world adopted the portable calculator, rote knowledge of basic math suffered. I know; I tested it during a lab exam when I was teaching college biology many years back. I forbid the use of calculators in the test and many students, who had lost the ability to do long division or multiplication by hand, lost marks. For some reason, I’m still not sure of, it was important for me to insist on students doing math longhand (a basic skill fast becoming obsolete like cursive writing) and punish those who had lost the art. Perhaps I was drawing on Isaac Asimov’s possibly prescient 1957 short story satire The Feeling of Power, which explored the limitations of a future world that lost its basic skills to machines. The corollary, I suppose, is that more complex and conceptual math gained some ground through this handy and efficient tool. Machines have their advantages, certainly. And generative AI is just one sophisticated aspect of machine use.

Consequences to Creative Writing

In my world of professional fiction authors, there is a palpable fear of being replaced by AI as story creators: a version of the ultimate science fiction horror plot of being taken over by the machine world (I’ve even exploited that in my SF thrillers Angel of Chaos and Darwin’s Paradox).

Given our unique powers of imagination, I don’t think that will happen (very soon, if ever successfully). Though, as we dummy-down and simplify complex stories for fast-paced multiplex audiences addicted to fast-paced bite-sized and easy to digest entertainment, AI-generated narratives could get by. How is all this affecting the publishing industry now? I recently learned that one of the top five online science fiction magazines, Metastellar, accepts AI-assisted stories with the proviso that “they better be good.” And Metastellar provides some convincing reasons. This has become a hot topic among my fellow professional writers at SF Canada.  One colleague informed me that a “new publisher Spines plans to disrupt industry by publishing 8000 AI books in 2025 alone.” On checking the news release, I discovered that Spines is, in fact, a tech firm trying to make its mark on publishing, primarily through the use of AI. The company offers the use of AI to proofread, produce, publish, and distribute books. They are, in fact, a vanity publishing platform (essentially a service for self-publishing), charging up to $5000 a book and often taking just three weeks to go from manuscript to a published title. The quality of what they will produce is unclear—and questionable.

All to serve as metaphor for what I and my colleagues at university are striving to achieve with students in their academic writing: excellence in communication, particularly in conveying complex scenarios that require creative solutions where clear, concise, and convincing writing is requisite.

I still find myself reluctant to use AI in my writing and communication, though I’ve at times slid into using AI for research and initial summaries to save time. I do this rarely because I absolutely enjoy doing research. I enjoy challenging my brain to summarize key points and write a good line. I enjoy the thrill of unanticipated discoveries, which always happen on these forays. I also recognize that many people do not share my enthusiasm for these brain exercises.

(Photo: Nina writing in another cafe)

I think that AI alone will not replace human mind for unique creativity. I didn’t say “can not.” It could; but it won’t. This is because even as genAI becomes infused in many aspects of life pursuit, there will remain those like that rare mathematician capable of doing math by hand in The Feeling of Power, valued not just because they are rare, but because in that rarity, they fulfill a critical role. When the machines stalled in their ability to move society forward in The Feeling of Power and all seemed lost, this archaic mathematician presented new innovation with basic math. I’m not suggesting that the technology will all break down, plunging the world into darkness (though this remains a possibility and is still a great plot for science fiction); but I submit that diversity rules over monopoly when it comes to survival.   

Five Mass Extinctions

This may seem a rather dark projection of the future, but consider that over the millennia, after five mass extinctions and with the sixth mass extinction underway, diversity has always saved the world. Within that necessary diversity, it is the nurtured rarities, the outliers, the misfits and nonconformists that survived the destruction of the previous world. Each time, diversity made that possible. As though engrained in Nature’s world building.

Mass Extinctions (image by National Geographic)

Ecologists call it ecological succession, others use the term “creative-destruction” to describe the recursive pattern of living and non-living things of the planet. Both describe how the oligarchs of an established climax ecosystem fail due to change or disturbance and are replaced by a previous rare misfit or immigrant better suited to the new environment. 

Primary and secondary succession in two different ecosystems

I think AI is part of our succession. Our use of AI in all its forms will represent a diversity of reaction and action that represent our own diversity and potential to survive in a changing world. All to say: relax and embrace the outliers.

Writing in nature (photo by Nina Munteanu)

As William Gibson so famously said in 1993: The Future is already here; it’s just not evenly distributed. And maybe that’s a good thing…

So…

…To AI, or not to AI, that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of terrible writing,
Or to take arms against a sea of scribbles
And by opposing end them. To think—to write,
No more; and by writing to say we end
The heart-ache and the thousand natural shocks
That tech is heir to: ’tis a consummation
Devoutly to be wish’d. To think, to write;
To write, perchance to create—ay, there’s the rub:
For in that creation of unique thoughts what others may come,
When we have shuffled off this genAI…

Writing in Nature (photo by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.