On Writing “A Diary in the Age of Water”

How does any fire begin? With a spark.

FillingAtWaterTap copyIn Summer of 2016, I attended a talk given by Maude Barlow on water justice. The radical talk was based on her recent book “Boiling Point”, a comprehensive exploration of Canada’s water crisis—a crisis that most Canadians weren’t—and still aren’t—aware. Canada is steward to a fifth of the world’s fresh water, after all. It is a water-rich country. Of the dozen largest inland lakes in the world, Canada holds eight of them. So, why water crisis? Well, Maude explains. And you should read “Boiling Point.” It will open your eyes to the politics of water and how multinational corporations—like Nestlé—are already grabbing and funneling water away from Canadians and into the global profit machine.

Maude’s talk was in a church on Bloor Street in Toronto. I sat close to the front to best see her. But I soon noticed that many people had elected to sit in the gallery above. I found myself focusing on a young mother and her little girl. The girl had some paper and crayons and was busy with that as the enthusiastic mother listened to Maude deliver dire facts about corporate water high-jacking and government complicity.

I saw a story there.

What mother would take her pre-school child to a socio-political talk on water? I would later reflect that memory of the mother and her little girl through my characters Una and her little daughter Lynna, the diarist in my novel “A Diary in the Age of Water” (due for publication in 2020 with Inanna Publications).

woody stream

The spark for my novel began with a short story I was invited to write in 2015 about water and politics in Canada.  I had long been thinking of potential ironies in Canada’s water-rich heritage. The premise I wanted to explore was the irony of people in a water-rich nation experiencing water scarcity: living under a government-imposed daily water quota of 5 litres as water bottling and utility companies took it all.

The Way of Water-COVERI named the story “The Way of Water.” It was about a young woman (Hilda) in near-future Toronto who has run out of water credits for the public iTap; by this time houses no longer have potable water and their water taps have been cemented shut; the only way to get water is through the public iTaps—at great cost. She is two metres from water—in a line of people waiting to use the tap—and dying of thirst.

The Way of Water” captures a vision that explores the nuances of corporate and government corruption and deceit together with global resource warfare. In this near-future, Canada is mined of all its water by thirsty Chinese and US multinationals—leaving nothing for the Canadians. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation that prevent rain clouds from going anywhere north of the Canada-US border. If you’re wondering if this is possible, it’s already happening in China and surrounding countries.

Exile-CanTales ClimateChangeThe story first appeared in 2015 in Future Fiction, edited by Francesco Verso, and in 2016 as a bilingual (English and Italian) book and essay published by Mincione Edizioni in Rome. The story was reprinted in magazines and anthologies several times since, including “Cli-Fi: Canadian Tales of Climate Change Anthology” (Exile Editions, Bruce Meyer, ed), in 2017, Future Fiction: New Dimensions in International Science Fiction (Francesco Verso & Bill Campbell, eds; Future Fiction / Rosarium Publishing, Rome and Greenbelt, MD) in 2018; and in Little Blue Marble Magazine (Katrina Archer, ed) in January, 2019. “The Way of Water” received generous praise from review sites and the press worldwide.

FF - Rosarium CoverAfter the success of this short story, I realized that I needed to tell the larger story—how did the world—Canada—get to where Hilda was? Her mysterious mother, the limnologist Lynna who was taken away by the RCMP in 2063, clamored for more attention. I remembered that four-year old girl and her mother in the gallery at Maude Barlow’s talk on water politics. And I thought of my characters: young Lynna and her mother Una. How does a daughter of an activist mother behave and think? How best to express her voice?

NaturalSelection-front-webI had earlier written a short story that was a mix of correspondence (emails) and third person narrative (“The Arc of Time” in Natural Selection), which I felt captured the voices of the characters well. I realized that a diary by Lynna would be an ideal way for her to express her unique worldview and cynicism—yet allow her vulnerable humanity to reveal itself through this unique relationship with her diary. The remaining characters and their narratives emerged easily from there: Una, her activist mother; Daniel, her conspiracy theorist colleague (and her conscience); Orvil, the water baron (and lover she betrayed); and Hilda, her “wayward” supposedly mind-challenged daughter—who appears in the short story that takes place later.

Water Is-COVER-webI had a lot of material; I had already been researching water issues and climate change in my activism as a science writer and reporter. I had recently published “Water Is… The Meaning of Water”, essentially a biography of water, written from the perspective of mother, environmentalist and scientist. I had practiced as a limnologist for over twenty-five years and could mine my various personal experiences in the field, lab and office with genuine realism. I chose Wetzel’s Limnology (the classic text book I used in my introductory limnology course) for quotes to each of Lynna’s entries; this added an opportunity to provide additional metaphor and irony through Lynna’s scientific voice. I placed the child Lynna (who was born in 2012) into actual events in Toronto, where I currently live. This pushed the story further into the area of documentary and blurred the lines between fiction and non-fiction to achieve a gritty and textured reality. Lynna also taught limnology at the University of Toronto, where I currently teach.

Just as Water Is…” served as a watershed for all my relevant experiences as mother, environmentalist and scientist, “A Diary in the Age of Water” would galvanize many of my personal experiences, doubts, challenges and victories into compelling story. Although parts of the story wrote themselves, the entire book was not easy to write. There were times when I had to walk away from the book to gain some perspective—and optimism—before continuing. When I found myself drowning in Lynna’s voice, I invoked Hilda to guide me to shore. I found a balance that worked and compelled. Ultimately this opened to some of the best internal conflict and tension I have experienced in my writing.

Like water itself, A Diary in the Age of Water expresses through many vessels and in many perspectives, spanning hundreds of years—and four generations of women—with a context wider than human life. Through its characters, A Diary in the Age of Water explores the big question of humanity’s deadlock with planetary wellness and whether one is worth saving at the expense of the other. One of the characters asks Lynna the hard question: “If you had the chance to save the planet [stop the mass extinctions, deforestation and pollution ravaging the planet], but it was at the expense of humanity, would you do it?”

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Water is, in fact, a character in the book—sometimes subtle and revealed in subtext, other times horrific and roaring with a clamorous voice. Water plays both metaphoric and literal roles in this allegorical tale of humanity’s final journey from home. The story explores identity and our concept of what is “normal”—as a nation and an individual—in a world that is rapidly and incomprehensibly changing—and in which each of us plays a vital role simply by doing or not doing.

“A Diary in the Age of Water” promises to leave you adjusting your frame of reference to see the world, yourself—and water—in a different way. “A Diary in the Age of Water” is scheduled for release by Inanna Publications in 2020.

 

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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” will be released by Inanna Publications (Toronto) in 2020.

 

Can Dystopian Eco-Fiction Save the Planet?

By failing to engage with climate change, artists and writers are contributing to an impoverished sense of the world, right at the moment when art and literature are most needed to galvanize a grassroots movement in favor of climate justice and carbon mitigation.”—Amitav Ghosh, 2017

NewYork 2140…Margaret Atwood’s The Year of the Flood. Paolo Bacigalupi’s The Windup Girl or The Water Knife. Kim Stanley Robinson’s New York 2140. Nina Munteanu’s A Diary in the Age of Water. Richard Power’s Overstory. Annie Proulx’s Barkskins. Emmi Itäranta’s The Memory of Water

What these novels have in common is that they are all Dystopian Eco-Fiction. Humanity’s key role in environmental destruction serves a strong thematic element. In eco-fiction dystopias (as opposed to political or socio-cultural dystopias such as Brave New World, 1984, The Handmaid’s Tale) the environment—whether forest, ocean, water generally, or the animal world—plays a key character.

Our Literature in the Anthropocene

In 2017, Amitav Ghosh observed that the literary world has responded to climate change with almost complete silence (The Great Derangement: Climate Change and the Unthinkable). “How can we explain the fact that writers of fiction have overwhelmingly failed to grapple with the ongoing planetary crisis in their works?” writes Fredrick Albritton Jonsson of The Guardian, who observes that, “for Ghosh, this silence is part of a broader pattern of indifference and misrepresentation. Contemporary arts and literature are characterized by ‘modes of concealment that [prevent] people from recognizing the realities of their plight.’”

Windup GirlAccording to Ghosh, plots and characters of contemporary literature tend to reflect the regularity of middle-class life and the worldview of the Victorian natural sciences, one that depends on a principle of uniformity. Change in Nature has been perceived as gradual (or static by some) and never catastrophic. Extraordinary or bizarre happenings were left to marginal genres like the Gothic tale and—of course—science fiction. The strange and unlikely have been externalized: hence the failure of modern novels and art to recognize anthropogenic climate change.

From Adam Smith’s 18th Century economic vision to the conceit of bankers who drove the 2008 American housing bubble, humanity’s men have consistently espoused the myth of a constant natural world capable of absorbing infinite abuse without oscillation. When James Lovelock and Lynn Margulis proposed the Gaia Hypothesis in the 1970s, many saw its basis in a homeostatic balance of the natural order as confirmation of Nature’s infinite resilience to abuse. They failed to recognize that we are Nature and abuse of Nature is really self-abuse.

Jonsson suggests that these Enlightenment ideas are essentially ideological manifestations of Holocene stability, remnants from 11,000 years of small variability in temperature and carbon dioxide levels, giving rise to deep-seated habits and ideas about the resilience of the natural world. “The commitment to indefinite economic growth espoused by the economics profession in the postwar era is perhaps its most triumphant [and dangerous] expression.”

barkskinsJonsson suggests that these Enlightenment ideas are essentially ideological manifestations of Holocene stability, remnants from 11,000 years of small variability in temperature and carbon dioxide levels, giving rise to deep-seated habits and ideas about the resilience of the natural world. “The commitment to indefinite economic growth espoused by the economics profession in the postwar era is perhaps its most triumphant [and dangerous] expression.”

Louise Fabiani of Pacific Standard suggests that novels are still the best way for us to clarify planetary issues and prepare for change—even play a meaningful part in that change. In her article “The Literature of Climate Change” she points to science fiction as helping “us prepare for radical change, just when things may be getting too comfortable.”

Referring to our overwhelming reliance on technology and outsourced knowledge, Fabiani suggests that “our privileged lives (particularly in consumer-based North America) are built on unconscious trust in the mostly invisible others who make this illusion of domestic independence possible—the faith that they will never stop being there for us. And we have no back-ups in place should they let us down.” Which they certainly will—given their short-term thinking.

TheOverstory“To counteract this epidemic of short-term thinking,” says Fabiani, “it might be a good idea for more of us to read science fiction, specifically the post-apocalyptic sub-genre: that is, fiction dealing with the aftermath of major societal collapse, whether due to a pandemic, nuclear fallout, or climate change.”

I suggest widening the genre to include good dystopian eco-fiction, which includes not just post-apocalyptic tales but also cautionary tales, worlds in upheaval, and satires. Dystopian literature is ultimately an exploration of hope through personal experience. The eco-fiction protagonist navigates their dystopia by learning meaningful lessons—lessons that pertain directly to our reader in their current world. This is because the premise of a dystopia lies squarely in the present world. Good dystopias can enlighten and suggest possibilities; they can warn and herald. At the very least, they incite the necessary conversation.

On the Role of Dystopian Eco-Fiction

NaturalSelection-front-webI recently shared a panel discussion with writer Kristen Kiomall-Evans at the 2019 Limestone Genre Expo in Kingston entitled: “On the Role of (Dystopian) Literature and Environmental Issues: Can Books Save the Planet.” The audience of mostly women shared enlightened input in an open discussion, which spanned a range of topics and directions from what dystopian literature actually is to whether we are turned off by its negativity—that it may be too close to reality and makes us cringe and want to hide. One person even brought up Game of Thrones as an example; which I then bluntly suggested was not real “story”—it is a stream of episodic sensationalism and horror—aimed at thrilling shock value, not fulfilling meaning.

The group explored what Eco-Fiction is and the possibility of how eco-fiction writers can influence their audience to engage in helping the planet and humanity, in turn.

 “Science doesn’t tell us what we should do,” Barbara Kingsolver wrote in Flight Behavior “It only tells us what is.” Stories can never be a solution in themselves, but they have the capacity to inspire action. Margaret Atwood wrote in MaddAddam, “People need such stories, because however dark, a darkness with voices in it is better than a silent void.”

We explored several areas in which writers could elucidate ways to engage readers for edification, connection and participation. We discussed optimism, new perspectives, envisioning our future, and imaginative use of “product placement” to gain reader engagement and galvanize a movement of action.

Optimism in Story

I pointed out that good dystopias—like all good fiction—follow a character and story arc that must ultimately resolve (which Game of Thrones may never do, certainly not well—J.R.R. Martin’s books series upon which it is based are not even finished yet!). Eco-Fiction Dystopias often conclude with a strong element of hope, based on some positive aspect of humanity and the human spirit—which may include our own evolution. Think Day After Tomorrow, Year of the Flood, Windup Girl, The Postman, Darwin’s Paradox.

WaterAnthology-RealitySkimmingPress copyIn 2015, I joined Lynda Williams of Reality Skimming Press in creating an optimistic science fiction anthology with the theme of water. My foreword to Water addressed this point:

As we drank Schofferhoffers over salmon burgers, Lynda lamented that while the speculative / science fiction genre has gained a literary presence, this has been at some expense. Much of the current zeitgeist of this genre in Canada tends toward depressing, “self-interested cynicism and extended analogies to drug addiction as a means of coping with reality,” Lynda remarked. Where was the optimism and associated hope for a future? I brought up the “hero’s journey” and its role in meaningful story. One of the reasons this ancient plot approach, based on the hero journey myth, is so popular is that its proper use ensures meaning in story. This is not to say that tragedy is not a powerful and useful story trope; so long as hope for someone—even if just the reader—is generated. Lynda and I concluded that the science fiction genre could use more optimism. [As a result,] these stories explore individual choices and the triumph of human imagination in the presence of adversity. [Each story explores] the surging spirit of humanity toward hopeful shores.

New Perspectives in Story

Evans spoke of the emergence of and need for a strong voice by marginalized groups who would be most affected by things like habitat destruction and climate change. The poor and marginalized will most certainly make up the majority of climate change refugees, starved out and water shorted, and suffering malnutrition, violence and disease.

FifthSeason-JemisinEvans pointed out that afro-American writers (e.g., Octavia Butler, Walter Mosley, Nalo Hopkinson and N.K. Jemisin) and indigenous writers (Cherie Dimaline, Daniel Wilson, Drew Hayden Taylor) are an exciting voice, providing a new and compelling perspective on ongoing global issues. I would add that the “feminine” voice—the voice of women and the voice of ecology and those who embrace the gylanic voice—are needed. This was strangely not mentioned in the group—perhaps because we were all women—but one. Such a voice can help personalize the experience to readers, by creating discovery, connection and understanding—and ultimately serving a key force in engaging readers to act.

Envisioning Our Future Through Story

One audience member shared a yearning for an optimistic focus through an envisioned world where solutions have successfully created that world. She wasn’t so much suggesting writing a utopia, but including elements of future wishes as an integral part of the world, following Ghandi’s wise advice: be the change you seek. In a recent interview in which I also participated in The Globe and Mail on women science fiction writers, Ottawa writer Marie Bilodeau addressed this concept:

“the best part about writing science fiction is showing different ways of being without having your characters struggle to gain rights. Invented worlds can host a social landscape where debated rights in this world – such as gay marriage, abortion and euthanasia – are just a fact of life.”

People are looking for hopeful fiction that addresses the issues but explores a successful paradigm shift. One that accurately addresses our current issues with intelligence and hope. The power of envisioning a certain future is that the vision enables one to see it as possible.

Product Placement in Story

Editor and naturalist Merridy Cox suggested that writers could make motivating connections through altruistic (not market-driven) “product placement.” She gave the example of an Ash tree. The Ash (Fraxinus species) could subtly make its name, its character and ecology known in the story, along with its plight—its destruction by the non-native invasive emerald ash borer. The use of metaphor and personification would easily link the Ash to a character and at the same time illuminate the reader on a real aspect of the environment to consider. Another example she gave was of the threatened bobolink bird, now all but gone. The bobolink originally made its home in the tallgrass prairie and other open meadows. As native prairies were cleared for farming, the bobolink was displaced and moved to living in hayfields and fallow fields—building their nests on the ground in dense grasses. Changing farm practices (shorter crop rotation and earlier maturing seed mixtures) are now destroying the bobolink’s last refuge.

bobolink-chicks-mom

Bobolink mother and her chicks

 

Such “product placement” essentially gives Nature and the environmental a personalized face that can easily interact with the story’s theme and its characters. “Product placement”—like symbol—lies embedded in its own story. In the case of the bobolink, it is a story of colonialism, exploitation, and single-minded pursuit at the expense of others not considered, known or understood. These examples have anthropogenic connections to human behaviour, action and knowledge—all related to story and theme.

MockUpEcology copyIn my new writing guidebook The Ecology of Story: World as Character I discuss and explore how some authors do this impeccably. Authors such as Barbara Kingsolver, Richard Powers, Frank Herbert, Ray Bradbury, Thomas Hardy, Margaret Atwood, Alice Munro, Janet Fitch, John Steinbeck, David Mitchell, Joanne Harris and many others.

Writing for the Anthropocene

Learn how to write for the Anthropocene: from Habitats and Trophic Levels to Metaphor and Archetype…

Learn the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections and symbols between setting and character. “Ecology of Story: World as Character” is the 3rd guidebook in Nina Munteanu’s acclaimed “how to write” series for novice to professional writers.

The Ecology of Story will be released by Pixl Press in early July 2019.

 

 

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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” will be released by Inanna Publications (Toronto) in 2020.

 

 

Ecology of Story: Place as Allegory

tree trunks coolAn allegory is a complete narrative whose images and material things represent an abstract idea or theme such as a political system, religious practice or figure, or a philosophical viewpoint. The entire narrative is a metaphor in which all components are symbolic. Most fairy tales, folk tales and myths are allegories. Examples include: Edmund Spencer’s Faerie Queen; Mary Shelley’s Frankenstein; and Beowulf.

The narrative of allegory is a fractal nest of symbolic names, places and things, that contribute key elements to the story (e.g., Luke Skywalker and Han Solo in Star Wars; Gabriel Oak in Far From the Madding Crowd; John Savage of Stanger in a Strange Land; Darwin Mall in Darwin’s Paradox; Middle Earth in Lord of the Rings; Lilliput in Gulliver’s Travels). Setting and place in allegory symbolizes the theme being explored (e.g. Orwell’s farm in Animal Farm represents a totalitarian world of oppression; the road in John Bunyan’s Pilgrim’s Progress represents the journey of humankind; the island in William Golding’s Lord of the Flies represents the world at war).

As an aside, the science of place names, geographical names or toponyms (derived from a topographic feature) is called toponymy. The city of Montreal, for instance, is a toponym (named after le Mont Royal). Toponyms often come through the local vernacular. Given their link to cultural identity, such place names can provide a significant symbolic role in story.

Animal Farm-GeorgeOrwellIn Animal Farm, George Orwell uses animals to describe the revolution against a totalitarian regime (e.g. the overthrow of the last Russian Csar and the Communist Revolution of Russia). The animals embrace archetypes to symbolize the actions and thoughts of various sectors within that world. The pigs are the leaders of the revolution; Mr. Jones represents the ruling despot who is overthrown; the horse Boxer is the ever-loyal and unquestioning labor class.

John Bunyan’s The Pilgrim’s Progress, published in 1678, tells the story of a narrator who falls asleep and dreams of a man named Christian fleeing the City of Destruction while bearing a heavy burden (e.g., symbolizing his own sins) on his back. A character named Evangelist shows Christian the way to Celestial City, a perilous journey through the Slough (swamp) as characters called Mr. Worldly Wiseman and Hypocrisy try to lead him astray.

LordOfTheFlies-WilliamGoldingIn Lord of the Flies, William Golding explores the conflict in humanity between the impulse toward civilization and the impulse toward savagery. The symbols of the island, the ocean, the conch shell, Piggy’s glasses, and the Lord of the Flies, or the Beast, represent central ideas that reinforce this main theme. Each character has recognizable symbolic significance: Ralph represents civilization and democracy; Piggy represents intellect and rationalism; Jack represents self-interested savagery and dictatorship; and Simon (the outsider in so many ways) represents altruistic purity.

Many of Golding’s potent symbols to power his allegory come from the natural world. These include the use of smoke, fire, and snakes to invoke the imaginary beast (that exists within each of them). The scar left from the plane crash that destroys this natural paradise symbolizes our savage and destructive nature.

Allegories may also be powerful as satires. The social commentary of satires expose and criticize corruption and foolhardiness of societies, groups or even individuals through humor, irony and even ridicule. Gulliver’s Travels by Jonathan Swift is a good example of satire and parody. Swift targets politics, religion and western culture through satire. Aspects of place, landscape and setting are effectively used to feature his commentary. Another excellent example of political satire and use of place and setting with embedded character is found in Lewis Carroll’s Alice’s Adventures in Wonderland.

TheHandmaidsTale-MargaretAtwoodExcellent examples of satires with less obvious allegorical structure (but it’s there) can be found in the genre of science fiction—a highly metaphorical literature that makes prime use of place and setting with archetypal characters to satirize an aspect of society. Brave New World by Aldous Huxley is a satirical response to his observation of humans’ addiction to (sexual) pleasure and vulnerability to mind control and the dumbing of civilization in the 1930s. George Orwell’s Nineteen Eight-Four satirizes humanity’s vulnerability to fascism, based on his perception of humans’ sense of fear and helplessness under powerful governments and their oppressive surveillance. Margaret Atwood’s The Handmaid’s Tale satirizes a society in which a woman struggles in a fundamentalist Christian dictatorship patriarchy where women are forced into a system of sexual slavery for the ruling patriarchy.

Other examples include Stranger in a Strange Land by Robert Heinlein; The Dispossessed by Ursula K. Le Guin; The Time Machine by H. G. Wells; The Hunger Games by Suzanne Collins. Each of these stories examines the world of the day and provides critical commentary through premise, place and character. In each of these stories, place and setting help define premise and theme (e.g., what is being satirized.)

 

 

MockUpEcology copyThis article is an excerpt from The Ecology of Story: World as Character released in June 2019 by Pixl Press.

From Habitats and Trophic Levels to Metaphor and Archetype…

Learn the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections between setting and character. “Ecology of Story: World as Character” is the 3rd guidebook in Nina Munteanu’s acclaimed “how to write” series for novice to professional writers.

 

 

Microsoft Word - Three Writing Guides.docx

 

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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” will be released by Inanna Publications (Toronto) in 2020.

Write and Publish, Part 8: The Hero’s Journey Plot Approach

Plot your way to success. nine-time novelist and short story author Nina Munteanu describes successful plot approaches in storytelling, including The Hero’s Journey.

 

The Write and Publish Series

You want to write but don’t know how to get started? The Write and Publish Series focuses on:

  • How to find time to write around your busy schedule
  • How to make the most of your present resources
  • How to get inspired and motivate yourself to write
  • How to write, finish and submit your work

This 7-part series of lectures consists of: 1) Nina’s 5-Ps to Success; 2) Redefine Yourself as an Author; 3) Time and Space to Write; 4) Adopt a Winning Attitude; 5) Write What Excites You; 6) How to Beat Writer’s Block; 7) How to Keep Motivated; and 8) Plot Approaches including the Hero’s Journey.

Nina-Heros Journey

The Writer’s Toolkit

This series of lectures and workshops is part of Nina Munteanu’s “The Writer’s Toolkit”, available as three workshops and DVDs for writers wishing to get published. This 6-hour set of three discs contains lectures, examples and exercises on how to get started and finish, writing craft, marketing and promotion. Available through the author (nina.sfgirl@gmail.com).

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Nina gives a writing workshop in Mahone Bay, Nova Scotia

the writers toolkit-front-WEBI was fascinated by Nina’s clear and extremely interesting lecture on the hero’s journey.  Maybe all writers have a novel in their heads they want to write one day, and the techniques Nina shared with us will help me when I get to that point.  In fact, because of her, I may get there a lot sooner than I had planned.”— Zoe M. Hicks, Saint Simon’s Island, GA

Nina Munteanu’s command of the subject matter and her ability to explain in a way that the audience understood was excellent. As a hopeful author, I found her words inspiring.”—Amanda Lott, Scribblers Writers’ Retreat, GA

Rarely have I encountered someone of Nina’s considerable talent and intellect tied to such an extraordinary work ethic…A gifted and inventive writer, Nina is also an excellent speaker who is able to communicate complicated ideas in simple terms and generate creative thought in others. Her accessible, positive approach and delightful sense of humor set people at ease almost immediately.”–Heather Dugan, Ohio writer and voice artist

What you’ve done for me, Nina, is you’ve just opened up a whole new world. You’ve shown me how to put soul into my books.”–Hectorine Roy, Nova Scotia writer

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Nina teaching a workshop in Halifax, Nova Scotia

The Writer’s Toolkit workshops were based on my award-nominated fiction writing guide: The Fiction Writer: Get Published, Write Now! Chapter P describes various plot approaches and Chapter J focuses specifically on the Hero’s Journey Plot Approach.

FictionWriter-front cover-2nd ed-web“…Like the good Doctor’s Tardis, The Fiction Writer is larger than it appears… Get Get Published, Write Now! right now.”—David Merchant, Creative Writing Instructor

The Fiction Writer: Get Published, Write Now! (Starfire World Syndicate) is a digest of how-to’s in writing fiction and creative non-fiction by masters of the craft from over the last century. Packaged into 26 chapters of well-researched and easy to read instruction, novelist and teacher Nina Munteanu brings in entertaining real-life examples and practical exercises. The Fiction Writer will help you learn the basic, tried and true lessons of a professional writer: 1) how to craft a compelling story; 2) how to give editors and agents what they want and 3) how to maintain a winning attitude.

The Fiction Writer is at the top of the required reading list for my Writer’s Workshop students. With its engagingly direct, conversational style and easily accessible format, it is a veritable cornucopia of hands-on help for aspiring writers of any age…the quintessential guidebook for the soon-to-be-published.”—Susan McLemore, Writing Instructor

As important a tool as your laptop or your pen.”—Cathi Urbonas, Halifax writer

Has become my writing bible.”—Carina Burns, author of The Syrian Jewelry Box

I highly recommend this book for any writer wishing to get published.”—Marie Bilodeau, acclaimed author of Destiny’s Blood

I’m thoroughly enjoying the book and even learning a thing or two!”—Robert J. Sawyer, Hugo and Nebula Award-winning author of Wake

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Nina teaching a workshop in Calgary, Alberta

The Fiction Writer is the first of a series of writing guides, which consist so far of: The Journal Writer: Finding Your Voice; and The Ecology of Story: World as Character:

Microsoft Word - Three Writing Guides.docx

 

 

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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” will be released by Inanna Publications (Toronto) in 2020.

Ecology of Story: Place as Symbol

tree trunks cool“In their simplest form, symbols are anything outward that stands in for anything inward or abstract, such as a mood or an idea,” writes Donald Maass in Writing the Breakout Novel Workbook. As representations, symbols often serve as markers in a story. They may be a talisman, a totem that inspires a shift or awakening. In story, a symbol—particularly as talisman—may come as a gift to a character in need of inspiration. In the Hero’s Journey trope, this is often provided by a mentor archetype.

An example in story is the light saber that Obi Wan Kenobi presents to Luke Skywalker to aid him on his journey as a Jedi master. Symbols often reoccur as motif to incite an emotional trigger or turning point for a character.

Symbolism in literature provides richness, colour and depth of meaning. Use of symbols helps deepen theme beyond conscious appreciation and into emotional and subconscious levels. Symbolism can be portrayed through figure of speech in which an object or situation has another meaning than its literal meaning. It can also express through the actions and observations of a character, language or event that creates deeper meaning through context.

Maass provides the example of Barbara Kingsolver’s The Poisonwood Bible to depict superb use of symbol in storytelling:

Poisonwood Bible-KingsolverShe is inhumanly alone. And then, all at once, she isn’t. A beautiful animal stands on the other side of the water. They look up from their lives, woman and animal, amazed to find themselves in the same place. He freezes, inspecting her with his black-tipped ears. His back is purplish-brown in the dim light, sloping downward from the gentle hump of his shoulders. The forest’s shadows fall into lines across his white-striped flanks. His stiff forelegs play out to the sides like stilts, for he’s been caught in the act of reaching down for water. Without taking his eyes from her, he twitches a little at the knee, then the shoulder, where a fly devils him. Finally he surrenders his surprise, looks away, and drinks. She can feel the touch of his long, curled tongue on the water’s skin, as if he were lapping from her hand. His head bobs gently, nodding small, velvet horns lit white from behind like new leaves. 

It lasted just a moment, whatever that is. One held breath? An ant’s afternoon? It was brief, I can promise that much, for although it’s been many years now since my children ruled my life, a mother recalls the measure of the silences. I never had more than five minutes peace unbroken. I was that woman on the stream bank, of course. Orleanna  Price, Southern Baptist by marriage, mother of children living and dead. That one time and no other the okapi came to the stream, and I was the only one to see it.

In this opening to her novel, Kingsolver explores a multi-layered symbol for her main character’s bewilderment at the mystery and beauty of the environment around her, tied into her own essential helplessness, says Maass. “Part of what makes [Kingsolver’s] symbols poetic is that all of them emerge from the natural world around her characters,” he adds. Nature’s symbols are powerful archetypes that reveal compelling story. These symbols abound in Kingsolver’s novel that explores the relationships of five women with their environment and the rigid ignorance of their patriarch, Nathan Price. The garden, Maass tells us, provides many examples of this. Price has planted his seeds in a flat, not accounting for the torrential afternoon downpours, which wash away his garden in a flash. Later, the poisonwood tree in their yard gives Price a horrid rash, suggesting that he is messing with a place he does not understand or respect. How each of the women interacts with her environment over time provides a deeply felt and metaphoric revelation of how she relates to others and to herself—all reflecting her personal journey in the story. As the quote indicates, Orleanna Price experienced a turning point through discovery. In this example the discovery occurred through a sudden encounter with a natural element.

In my near-future speculative novel A Diary in the Age of Water, cynical limnologist Lynna sees everything in her life through limnological metaphors, ironically predicting her own future:

lake reflection mountainAn oligotrophic lake is basically a young lake. Still immature and undeveloped, an oligotrophic lake often displays a rugged untamed beauty. An oligotrophic lakes hungers for the stuff of life. Sediments from incoming rivers slowly feed it with dissolved nutrients and particulate organic matter. Detritus and associated microbes slowly seed the lake. Phytoplankton eventually flourish, food for zooplankton and fish. The shores then gradually slide and fill, as does the very bottom. Deltas form and macrophytes colonize the shallows. Birds bring in more creatures. And so on. Succession is the engine of destiny and trophic status its shibboleth.

As Nature tames the unruly lake over time, one thing replaces another. As a lake undergoes its natural succession from oligotrophic to highly productive eutrophic lake, its beauty mellows and it surrenders to the complexities of destiny. Minimalism yields to a baroque richness that, in turn, heralds extinction. The lake shrinks to a swamp then buries itself under a meadow.

We hold ourselves apart from our profligate nature. But we aren’t unique. We are more part of Nature than we admit. Using the thread of epigenetics and horizontal gene transfer, Nature stitches in us a moving tapestry of terrible irony. The irony lies in our conviction that we were made in the inimitable divine image of God. That we are special. Yet over a third of the human population is secular—atheists and agnostics—who do not believe in God. Or anything, for that matter. 

Water flows endlessly through us, whether we’re devout Catholics or empty vessels with no purpose. Water makes no distinction. It flows through us even after we bury ourselves.

In the following excerpt from Brokeback Mountain, Annie Proulx uses a mix of senses—but mostly smell—in an evocative description of two shirts to symbolize a love loss:

The shirt seemed heavy until he saw there was another shirt inside it, the sleeves carefully worked down inside Jack’s sleeves. It was his own plaid shirt, lost, he’d thought, long ago in some damn laundry, his dirty shirt, the pocket ripped, buttons missing, stolen by Jack and hidden here inside Jack’s own shirt, the pair like two skins, one inside the other, two in one. He pressed his face into the fabric and breathed in slowly through his mouth and nose, hoping for the faintest smoke and mountain sage and salty sweet stink of Jack, but there was no real scent, only the memory of it, the imagined power of Brokeback Mountain of which nothing was left but what he held in his hands. 

In my short story The Way of Water, water’s connection with love flows throughout the story:

The Way of Water-COVERThey met in the lobby of a shabby downtown Toronto hotel. Hilda barely knew what she looked like but when Hanna entered the lobby through the front doors, Hilda knew every bit of her. Hanna swept in like a stray summer rainstorm, beaming with the self- conscious optimism of someone who recognized a twin sister. She reminded Hilda of her first boyfriend, clutching flowers in one hand and chocolate in the other. When their eyes met, Hilda knew. For an instant, she knew all of Hanna. For an instant, she’d glimpsed eternity. What she didn’t know then was that it was love.

Love flowed like water, gliding into backwaters and lagoons with ease, filling every swale and mire. Connecting, looking for home. Easing from crystal to liquid to vapour then back, water recognized its hydrophilic likeness, and its complement. Before the inevitable decoherence, remnants of the entanglement lingered like a quantum vapour, infusing everything. Hilda always knew where and when to find Hanna on Oracle, as though water inhabited the machine and told her. Water even whispered to her when her wandering friend was about to return from the dark abyss and land unannounced on her doorstep.

In a world of severe water scarcity through climate catastrophe and geopolitical oppression, the bond of these two girls—to each other through water and with water—is like the shifting covalent bond of a complex molecule, a bond that fuses a relationship of paradox linked to the paradoxical properties of water. Just as two water drops join, the two women find each other in the wasteland of intrigue. Hilda’s relationship with Hanna—as with water—is both complex and shifting according to the bonds they make and break.

 

MockUpEcology copyThis article is an excerpt from “The Ecology of Story: World as Character” released in June 2019 by Pixl Press.

From Habitats and Trophic Levels to Metaphor and Archetype…

Learn the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections between setting and character. Ecology of Story: World as Character is the 3rd guidebook in Nina Munteanu’s acclaimed “how to write” series for novice to professional writers.

 

 

 

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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” will be released by Inanna Publications (Toronto) in 2020.

Write and Publish, Part 7: How to Keep Motivated

Author and university writing instructor Nina Munteanu shares how to stay motivated in your writing by participating—connecting—with your community

Nina-stay motivated

The Write and Publish Series

You want to write but don’t know how to get started? The Write and Publish Series focuses on:

  • How to find time to write around your busy schedule
  • How to make the most of your present resources
  • How to get inspired and motivate yourself to write
  • How to write, finish and submit your work

This 7-part series of lectures consists of: 1) Nina’s 5-Ps to Success; 2) Redefine Yourself as an Author; 3) Time and Space to Write; 4) Adopt a Winning Attitude; 5) Write What Excites You; 6) How to Beat Writer’s Block; and 7) How to Keep Motivated.

The Writer’s Toolkit

This series of lectures and workshops is part of Nina Munteanu’s “The Writer’s Toolkit”, available as three workshops and DVDs for writers wishing to get published. This 6-hour set of three discs contains lectures, examples and exercises on how to get started and finish, writing craft, marketing and promotion. Available through the author (nina.sfgirl@gmail.com).

the writers toolkit-front-WEBI was fascinated by Nina’s clear and extremely interesting lecture on the hero’s journey.  Maybe all writers have a novel in their heads they want to write one day, and the techniques Nina  shared with us will help me when I get to that point.  In fact, because of her, I may get there a lot sooner than I had planned.”— Zoe M. Hicks, Saint Simon’s Island, GA

Nina Munteanu’s command of the subject matter and her ability to explain in a way that the audience understood was excellent. As a hopeful author, I found her words inspiring.”—Amanda Lott, Scribblers Writers’ Retreat, GA

Rarely have I encountered someone of Nina’s considerable talent and intellect tied to such an extraordinary work ethic…A gifted and inventive writer, Nina is also an excellent speaker who is able to communicate complicated ideas in simple terms and generate creative thought in others. Her accessible, positive approach and delightful sense of humor set people at ease almost immediately.”–Heather Dugan, Ohio writer and voice artist

What you’ve done for me, Nina, is you’ve just opened up a whole new world. You’ve shown me how to put soul into my books.”–Hectorine Roy, Nova Scotia writer

The Writer’s Toolkit workshops were based on my award-nominated fiction writing guide: The Fiction Writer: Get Published, Write Now!

“…Like the good Doctor’s Tardis, The Fiction Writer is larger than it appears… Get Get Published, Write Now! right now.”—David Merchant, Creative Writing Instructor

The Fiction Writer: Get Published, Write Now! (Starfire World Syndicate) is a digest of how-to’s in writing fiction and creative non-fiction by masters of the craft from over the last century. Packaged into 26 chapters of well-researched and easy to read instruction, novelist and teacher Nina Munteanu brings in entertaining real-life examples and practical exercises. The Fiction Writer will help you learn the basic, tried and true lessons of a professional writer: 1) how to craft a compelling story; 2) how to give editors and agents what they want and 3) how to maintain a winning attitude.

FictionWriter-front cover-2nd ed-webThe Fiction Writer is at the top of the required reading list for my Writer’s Workshop students. With its engagingly direct, conversational style and easily accessible format, it is a veritable cornucopia of hands-on help for aspiring writers of any age…the quintessential guidebook for the soon-to-be-published.”—Susan McLemore, Writing Instructor

As important a tool as your laptop or your pen.”—Cathi Urbonas, Halifax writer

Has become my writing bible.”—Carina Burns, author of The Syrian Jewelry Box

I highly recommend this book for any writer wishing to get published.”—Marie Bilodeau, acclaimed author of Destiny’s Blood

I’m thoroughly enjoying the book and even learning a thing or two!”—Robert J. Sawyer, Hugo and Nebula Award-winning author of Wake

robot reading

The Fiction Writer is the first of a series of writing guides, which consist so far of: The Journal Writer: Finding Your Voice; and The Ecology of Story: World as Character:

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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” will be released by Inanna Publications (Toronto) in 2020.

Ecology of Story: Place as Metaphor

tree trunks coolRay Bradbury once told me that everything in story is metaphor. That is no more apparent than in setting and place, in which a story is embedded and through which characters move and interact. Metaphor is the subtext that provides subtleties in story, subtleties that evoke mood, anticipation, and memorable scenes. Richard Russo says, “to know the rhythms, the textures, the feel of a place is to know more deeply and truly its people.” When you choose your setting, remember that its primary metaphoric role is to help depict theme. This is because place is destiny.

Metaphor provides similarity to two dissimilar things through meaning. In the metaphor “Love danced in her heart” or the simile “his love was like a slow dance”, love is equated with the joy of dance. By providing figurative rather than literal description to something, metaphor invites participation through interpretation.

When I write “John’s office was a prison,” I am efficiently and sparingly suggesting in five words—in what would normally take a paragraph—how John felt about his workplace. The reader would conjure imagery suggested by their knowledge of a prison cell: that John felt trapped, cramped, solitary, stifled, oppressed—even frightened and threatened. Metaphor relies on sub-text knowledge.

This is why metaphor is so powerful and universally relevant: the reader fully participates—the reader brings in relevance through their personal knowledge and experience and this creates the memorable aspect to the scene.

Russo tells us that place is crucial to human destiny and the formation of human personality. “The more specific and individual things become, the more universal they feel,” says Russo. This is not an oxymoron, but an example of the principle of a truism that primarily comes to us in the form of paradox (like all good truisms). Detail provides the color and texture of your story and helps it resonate with a sense of place. This does not necessarily translate into a lot of exposition; but it does require creative choice of words. So, instead of “He took a drag from his cigarette as he drove his sports car along a winding road in the country”; (twenty words) try something like “Vinnie sucked on a Camel as his red Corvette careered the hair-pinned curves of Hell’s Gate.” (seventeen words).

Place Personified

old beech in forest-enrico fossati copy 2Personification is powerful metaphor that gives nonhuman things human qualities. It personalizes, energizes and emotionalizes. Place described through personification can illuminate both characters and their environment in compelling ways. By giving an object, place, or animal the qualities of a person, personification provides subtle aspects of mood and links the reader to a cocktail subtext of human feelings and struggles. Personification can connect the reader to “lifeless” objects such as water, soil, rock, the sun, moon, planet, concrete, paper, etc., to map the larger meaning of the story. Putting a character’s feelings into the objects around her—as POV character—creates a subtle but deep connection with the reader: “The darkness embraced her”; “The open-throated roar of the river pulled her near.”

D.H. Lawrence’s creates strong personification of Thomas Hardy’s Egdon Heath in Return of the Native:

…Egdon, whose dark soil was strong and crude and organic as the body of a beast.

In The Handmaid’s Tale—a dystopian tale of oppression and intrigue—Margaret Atwood writes:

There is something subversive about this garden of Serena’s, a sense of buried things bursting upwards, wordlessly, into the light, as if to point, to say: Whatever is silenced will clamour to be heard, though silently … Light pours down upon it from the sun, true, but also heat rises, from the flowers themselves, you can feel it: like holding your hand an inch above an arm, a shoulder. It breathes, in the warmth, breathing itself in.

Martin Nolan’s Still Point creates powerful imagery of a storm aftermath through an abandoned old shed and contrasts its loneliness to the half-wild woods nearby:

A deserted shed by the road, buckling under its roof, kneels into the tall grass. The woods beyond it hide the river … I turn back to the half-wild woods. These trees speak to each other, are wild enough for that. They live together, holding the riverbanks in place.

Cixin Liu’s The Three Body Problem—set against the backdrop of China’s Cultural Revolution—follows Wenji Ye, disillusioned by the massive environmental deforestation in the labour camps she is sent to work:

Her company wielded hundreds of chain saws like a swarm of steel locusts, and after they passed, only stumps were left. The fallen Dahurian larch, now bereft of branches, was ready to be taken away by tractor. Ye gently caressed the freshly exposed cross section of the felled trunk. She did this often, as though such surfaces were giant wounds, as though she could feel the tree’s pain …

Clearcut gordon valley-BW

Clearcut in Gordon Valley, British Columbia

In Memory of Water, Emmi Itäranta personifies this life-giving substance whose very nature is tightly interwoven with her main character. As companion and harbinger, water is portrayed simultaneously as friend and enemy. As giver and taker of life.

Water is the most versatile of all elements … Water walks with the moon and embraces the earth, and it isn’t afraid to die in fire or live in air. When you step into it, it will be as close as your own skin, but if you hit it too hard, it will shatter you … Death is water’s close companion. The two cannot be separated, and neither can be separated from us, for they are what we are ultimately made of: the versatility of water, and the closeness of death. Water has no beginning and no end, but death has both. Death is both. Sometimes death travels hidden in water, and sometimes water will chase death away, but they go together always, in the world and in us.

Personification of natural things provides the reader with an image they can clearly and emotionally relate to and care about. When a point-of-view character does the describing, we get a powerful and intimate indication of their thoughts and feelings—mainly in how they connect to place (often as symbol). When this happens, place and perception entwine in powerful force.

 

MockUpEcology copyThis article is an excerpt from “The Ecology of Story: World as Character” due in June 2019 by Pixl Press.

 

From Habitats and Trophic Levels to Metaphor and Archetype…

Learn the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections between setting and character. Ecology of Story: World as Character is the 3rd guidebook in Nina Munteanu’s acclaimed “how to write” series for novice to professional writers.

 

 

Microsoft Word - Three Writing Guides.docx

nina-2014aaa

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” will be released by Inanna Publications (Toronto) in 2020.