Interview with Author Simon Rose on the Order of Excalibur

My guest today is Calgary author Simon Rose who has published twenty-one novels for children and young adults, eight guides for writers, more than a hundred nonfiction books, and many articles on a wide variety of topics. Today, we’re looking at his latest novels for young adults, The Order of Excalibur – The Ring of Fate, and The Order of Excalibur – Reich Britannia.

Nina: What are the books all about?

Simon: The Order of Excalibur – The Ring of Fate is a fantasy novel for young adults set in England early in World War II. At the height of the Blitz and the Battle of Britain, young Canadian wizards Nick and Ginny are recruited by the mysterious Order of Excalibur as the country faces the threat of invasion.

The Order of Excalibur – Reich Britannia is a fantasy novel for young adults set in a parallel universe in the early 1940s, where Germany has invaded and occupied Great Britain. In a deadly nightmare world, Canadian teen wizards Nick and Ginny must risk their lives to alter the course of events and put history back on track.

Nina: And what’s the story behind the story?

Simon: The Order of Excalibur – The Ring of Fate is a fantasy novel for young adults set in Britain early in World War II. At the height of the Blitz and the Battle of Britain, young Canadian wizards Nick and Ginny are recruited by the mysterious Order of Excalibur as the country faces the threat of invasion.

Nick and Ginny’s father, Robert Jennings, is the world’s leading scholar on the magic and folklore of the Arthurian period, based at Cambridge University, while The Order of Excalibur has kept the secrets of Merlin since the early Middle Ages. The Order also has possession of a ring that Merlin supposedly used to materialize a stone circle similar to Stonehenge known as the Ring of Fate in the centre of his workshop. The spaces between the stones in the circle would reveal how events might occur if certain decisions were made. However, Merlin’s ring hasn’t been used since he died, and the stone circle hasn’t been seen since that time. The Order made attempts to materialize the Ring of Fate when Britain was under threat from the Spanish Armada in 1588 and from Napoleon in 1805 without success and when the situation in 1940 is even more desperate the British government is willing to try anything.

Robert and the children begin working in an underground facility in the heart of London during the Blitz and the Battle of Britain. Using their magical powers, Nick and Ginny are able to get the Ring of Fate to appear. While they view potential scenarios showing that all will be well and that there won’t be a German invasion, they also see other possible outcomes revealing a successful German invasion and subsequent occupation of Britain.

When a massive explosion almost destroys the underground facility, Robert, Nick, and Ginny are shocked when reaching the surface that London is now under German occupation. Robert, Nick, and Ginny attempt to escape from the German soldiers but soon begin to forget the other timeline and their own identities, as they go on the run in a nightmare world.

The Order of Excalibur – Reich Britannia is a fantasy novel for young adults set in a parallel universe in the early 1940s, where Germany has invaded and occupied Great Britain. This was one of the possible futures shown between the standing stones of Merlin’s Ring of Fate that has now become reality, once the stones were materialized by Canadian teen wizards Nick and Ginny.

Nick and Ginny are initially separated in a deadly nightmare world before being recruited by the British Resistance and learning of the previous reality, risking their lives to alter the course of events. They are also opposed by powerful German wizards in the Paranormal Division.

Following an assassination attempt on the life of the German governor, security is tightened, and many Resistance members are killed. With time running out before the reality of German victory becomes permanent, Nick and Ginny must find a way to bring back the Ring of Fate and put history back on track, before it’s too late.

Nina: You must have done quite a lot of historical research for the novels.

Simon: Yes, the story, main characters, and some of the settings in this novel are fictional but are based on true events that took place in World War II. I did lots of research into the early stages of the conflict. Following the story, the glossary has links to online sources where readers can learn more about the historical events, military campaigns, settings, and leading characters from World War II that are featured in the story. On my website, there’s a page dedicated to the book, along with links to separate pages featuring information regarding the book’s historical background and links to many online sources.

Nina: What are you currently working on?

Simon: I always have a few current projects and right now I’m working on more books in the same genre as my previously published paranormal Flashback series, a fantasy series, a historical fiction novel, and some picture books. I also continue to work on the adaptations of my Shadowzone series into screenplays for movies and TV shows, some other scripts, as well as teaching writing courses at the University of Calgary.

Anyone interested in keeping up to date with the projects that I’m working on is always welcome to subscribe to my monthly newsletter, which you can do at www.simon-rose.com.

Nina: You work with other authors, as well as on a variety of projects related to writing and publishing, don’t you?

Simon: Yes, I offer coaching, editing, consulting, and mentoring services for writers of novels, short stories, fiction, nonfiction, biographies, and in many other genres, plus do work with writers of scripts and screenplays. You can find details of some of the projects I’ve worked on with other authors, along with some references and recommendations, at www.simon-rose.com.

Nina: Where can people buy The Order of ExcaliburThe Ring of Fate and The Order of Excalibur – Reich Britannia?

Simon: The books can be purchased at most of the usual places as follows:

The Order of Excalibur – The Ring of Fate:

Ebook: Amazon Canada, Amazon USA, Kobo, iBooks, Barnes and Noble, Scribd, Amazon UK, Amazon France, Amazon Germany, Amazon Japan, Smashwords

Paperback: Amazon Canada, Amazon USA, Amazon UK, Amazon France, Amazon Germany, Amazon Japan

The Order of Excalibur – Reich Brittania:

Ebook: Amazon Canada, Amazon USA, Kobo, iBooks, Barnes and Noble, Scribd, Amazon UK, Amazon France, Amazon Germany, Amazon Japan, Smashwords

Paperback: Amazon Canada, Amazon USA, Amazon UK, Amazon France, Amazon Germany, Amazon Japan

Nina: Thanks Simon, for being my guest here today and the very best of luck with the The Order of Excalibur novels. I hope that the books sell thousands and thousands of copies in the coming months.

You can learn more about Simon and his work on his website at www.simon-rose.com, where you can also link to him at other locations online.

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.

Nina Munteanu Identified as a Leading Voice in Eco-SciFi Fiction

Inventor/author Kyo Hwang Cho recently identified Nina Munteanu, Kim Stanley Robinson, Jeff VanderMeer, and Richard Powers as Leading Voices in Eco-Science Fiction in an article on the LinkedIn Skyhome Newsletter.

Cho wrote:

Kim Stanley Robinson: Robinson is renowned for integrating ecological themes into his narratives. His works like The Ministry for the Future and the Mars Trilogy explore climate change, sustainability, and alternative socio-economic systems. His stories often centre around scientists striving for environmental reform.

Jeff VanderMeer: Best known for the Southern Reach Trilogy, beginning with Annihilation, VanderMeer delves into a nature-reclaimed mystery zone called Area X. His work blends ecological concerns with surreal and speculative storytelling, offering a unique lens on environmental collapse.

Richard Powers: While not strictly a science fiction author, Powers’s novels such as The Overstory and Playground revolve around nature’s impact on human lives and vice versa. His writing emphasizes the deep interconnectedness of species and ecosystems.

Nina Munteanu: A Canadian ecologist and writer, Munteanu’s stories explore how humans interact with the environment. Her narratives often examine the intersection of science, climate crisis, and spiritual transformation.

Cho included the following Noteworthy Eco-Science Fiction Works:

  • “The Ministry for the Future”: A speculative exploration of global climate crisis responses through policy, activism, and emergent technology.
  • “Annihilation”: A surreal expedition into a wilderness zone that defies scientific explanation, echoing the unpredictability of nature itself.
  • “The Overstory”: A web of interconnected lives bound by trees, showing how the natural world can act as both witness and protagonist. [Inclusion of this book in the eco-SciFi subgenre is a stretch: however, like my own book, there are elements of speculation, and some subtle fantastical elements that one can argue place it in a scifi setting]
  • “A Diary in the Age of Water”: A dystopian look at a future shaped by water scarcity, societal collapse, and ecological memory.

Cho defines Eco-SciFi this way: “Eco-SciFi is a subgenre of SciFi that foregrounds ecological consciousness, blending speculative fiction with climate science, ethics, and planetary survival.” He includes a table that distinguishes Eco-SciFi from traditional Sci-Fi in several core areas from core theme, tone and motivation to protagonists and ‘message.’

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.

What Genre Is My Story? Is it Eco-Fiction or Something Else?

Illustration depicting Ray Bradbury’s ‘Rocket Summer’ in The Martian Chronicles (image from The Black Cat Moan)

Twenty years ago, when I started seriously publishing short stories and novels, the environment was not recognized by the public or writers as an entity that deserved a literary category. Nature and environment were mostly portrayed and viewed as passive entities, to conquer, subdue, exploit and destroy at will (particularly in science fiction—with some notable exceptions such as The Martian Chronicles by Ray Bradbury). Environment and Nature were not generally considered characters on a journey like the progatonist and other major characters; the environment lacked agency and was often ‘othered’ as dangerous, treacherous and unknowable.

Despite the fact that eco-fiction has in fact been in existence for centuries, use of this literary term is quite recent. Its first recognized use was in 1971, appearing as the title in John Stadler’s anthology published by Washington Square Press, which compiled environmental scifi works from the 1930s to the 1960s.

Defining Eco-Fiction

Thirty works of impactful eco-fiction

Author / scholar Mary Woodbury defines eco-fiction as “made up of fictional tales that reflect important connections, dependencies, and interactions between people and their natural environments.” In her article “Eco-Fiction—The SuperGenre Hiding in Plain Sight”, Judith defines eco-fiction as literature that “portrays aspects of the natural environment and non-human life as an evolving entity with agency in its relationship between and interaction with human characters.” In the preface to his 1995 book Where the Wild Boks Are: A field guide to Eco-Fiction, Jim Dwyer provides four criteria for eco-fiction:

  1. The nonhuman environment is present not merely as a framing device but as a presence that begins to suggest that human history is implicated in natural history
  2. The human interest is understood to be not the only legitimate interest
  3. Human accountability to the environment is part of the text’s ethical orientation
  4. Some sense of the environment as a process rather than as a constant or a given is at least implicit in the text.

These designations could be easily met by prehistoric cave art and first nations artwork and storytelling. These definitions also allow for the inclusion of many classics defined as eco-fiction from Herman Melville’s Moby Dick and Thomas Hardy’s Return of the Native to John Wyndham’s Day of the Triffids.

Evolving Eco-Fiction & Eco-SciFi

Like the environment it describes, Eco-Fiction is changing and evolving as a genre. Inventor/author Kyo Hwang Cho used the genre designation of Eco-SciFi when he recently identified me along with Kim Stanley Robinson, Jeff VanderMeer, and Richard Powers as Leading Voices in Eco-Science Fiction. Cho defines Eco-SciFi as: “a subgenre of SciFi that foregrounds ecological consciousness, blending speculative fiction with climate science, ethics, and planetary survival.” He includes a table that distinguishes Eco-SciFi from traditional Sci-Fi in several core areas from core theme, tone and motivation to protagonists and ‘message.’ The table can also be used to distinguish this sub-genre from other sub-categories within the umbrella term eco-fiction.

Cho described me as a Canadian ecologist and writer whose “stories explore how humans interact with the environment. Her narratives often examine the intersection of science, climate crisis, and spiritual transformation.” He described A Diary in the Age of Water as a noteworthy work of eco-science fiction: “a dystopian look at a future shaped by water scarcity, societal collapse, and ecological memory.”

Categories of Eco-Fiction

Partially due to this literature’s growing popularity there are currently many categories within and overlapping with eco-fiction; these include: climate fiction or clifi; solarpunk; eco literature, eco-horror, eco-punk, hopeful dystopia, mundane science fiction, speculative fiction, and weird fiction. Each of these focuses on particular idiosyncracies within the literary form that uniquely identify a work.

For instance, A Diary in the Age of Water has been variously described by reviewers and readers as eco-fiction, speculative fiction, science fiction or scifi, Fem-lit, mundane science fiction, hopeful dystopia, hopepunk or solarpunk, ecological science fiction or Eco-Sci-Fi. All to say that these designations and sub-genres are somewhat arbitrary and overlap; they may ultimately depend on the reader’s expectations of the work, and their own worldview and predilections. Given the still relevant reason for genre identification (to be able to best find the book in a brick and mortar or virtual bookstore), this makes sense; a work may easily satisfy several reader perspectives and therefore merit many sub-genre descriptors.

Eco-SciFi and mundane science fiction can be viewed this way. In an interview on Solarpunk Futures, I describe mundane science fiction as a sub-genre of science fiction that is very much like speculative fiction in that this sub-genre focuses on scenarios on Earth and involves matters to do with everyday life—hence the term mundane. Given the speculative aspect of mundane science fiction (e.g., set on Earth, often in the near-future), much of what Cho describes as Eco-SciFi also fits the designation of mundane science fiction. in my article “The Power of Diary in Fiction,” I describe Paolo Bacigalupi’s The Windup Girl, Emmi Itäranta’s Memory of Water and my own novel A Diary in the Age of Water as examples of mundane science fiction. Other good examples of mundane science fiction or Eco-SciFi include Kim Stanley Robinson’s New York 2041, Pitchaya Sudbanthad’s Bangkok Wakes to Rain and Michelle Min Sterling’s Camp Zero. These can all be labelled clifi as well. Min Sterling’s book also fits well under Femlit, Feminist Eco-Fiction, and Hopeful Dystopia.

The determining features provided by Cho that distinguish Eco-Sci-Fi help distinguish works that fall more easily into science fiction from those that better fit within the category of literary fiction or climate fiction.

Eco-Fiction—like Science Fiction—is a large category and provides a kind of umbrella term for all environmental fiction in which the environment plays a central role that informs the plot, theme and character-journey. In literature, it serves many literary works that do not include scifi aspects (e.g. fantastical or speculative); because of this, reserving the sub-genre of Eco-SciFi for those that do include fantastical elements makes sense. For non scifi works of Eco-Fiction, I would suggest using the term Eco-Lit (ecological literature), a term already in existence that incorporates the word ‘literature’ to suggest a type of literary fiction.

Ecological Literature or Eco-Lit

Eco-Lit—unlike Eco-SciFi—tends to restrict its narrative to the current time, does not include fantastical or speculative elements, and tends to use the ecological or climate elements more as metaphorical setting to examine personal drama. In all eco-fiction, however, the environmental setting/characteristic remains central to the story—as theme and/or premise— which would not work without it. Good examples of Eco-Lit include Migration and Once There Were Wolves by Charlotte McConaghy, Flight Behavior and Prodigal Summer by Barbara Kingsolver, and Greenwood by Michael Christie. In each of these works, the environmental characteristic sparks, motivates, and helps direct the actions of the main protagonist. For instance, in Flight Behavior, if the protagonist Dellarobia Turnbow had not encountered the changed migration of the monarchs (as a result of climate change), she would not have taken a drastic turn in her own journey.  

Thomas Hardy’s 1878 Return of the Native was a work of powerful literary eco-fiction (Eco-Lit) that gave Egdon Heath powerful agency over the other traditional characters: destroying, enabling, enlightening, strengthening, isolating. 

Eco-Fiction as Hyperobject

Some have suggested that eco-fiction be considered a supergenre, given that it defies strict boundaries. Elements of eco-fiction can be found in many other genres, from romance or thriller to science fiction or historical, suggesting that it is more a state of being than a category with static boundaries; more like a door or a window than a room. In my opinion, eco-fiction encompasses more than a genre or category; it is a hyperobject that has been with us since storytelling was born.  In his book Hyperobjects, philosopher Timothy Morton attempts to synthesize the still divergent fields of quantum theory (weirdness of tiny objects) and relativity (weirdness of large objects), inserting them into philosophy and art. According to Morton, a hyperobject is an entity that is massively distributed in space and time, making it difficult to grasp its totality or experience it as a single, unified object. Morton argues that the hyperobjects of the Anthropocene, such as global warming, climate or oil that have extensive time/space presence, have newly become visible to humans—mainly due to the very mathematics and statistics that helped to create these disasters. Glimpsing them through our copious data, hyperobjects “compel us to think ecologically, and not the other way around.”

I think that much of the fiction that authors write touches on climate and environment, whether they realize it or not, whether they are conscious of it or not. Climate and environment are both large, yet penetrating at the cellular level—influencing us in so many ways from obvious and literal to subtle and visceral. Try as we might—and we have for centuries tried—to separate ourselves and ‘other’ environment, we can’t escape it. “We are always inside an object,” says Morton. Hyperobjects show us that “there is no centre and we don’t inhabit it.”

I’ve created my own table, fashioned after Cho’s, and adapted to include Eco-Lit with pertinent examples:

Categories of Fiction Genres Related to Ecology and Environment
 SciFiEco-Fiction
Eco-SciFiEco-Lit
SettingScience, technology, space, time travel, AI, aliens, etc.* driven by elements of science fact or fictionEcological systems, environmental collapse, climate change, sustainability.* Some element of science fact or fiction; speculative fictionEcological systems, environmental effects, climate change, sustainability
ToneOften futuristic, space-based, dystopian, or technologically advanced societies*Earth-centred or near-future settings deeply affected by ecological factors*Earth-centred, mostly current settings, affected in some way by ecological factors; celebrates Nature in some way
MotivationCuriosity, innovation, power struggles, survival in altered realities*Preservation, adaptation, environmental justice, ethical stewardship*Environmental awareness and action, human justice, introspection, reflection, identity
StoryCan be optimistic, dystopian, neutral, techno-utopian, or apocalyptic* often focussing on human justice, alternative civilizations; allegoricalOften cautionary, reflective, grounded in real world environmental urgency* often extrapolating into dystopian future, optimistic dystopia; metaphoricGrounded in real and usually current world with undertones of environmental urgency, reflective, illuminating; literary
ProtagonistsScientists, explorers, rebels, AI, aliens, engineers* othersEnvironmentalists, ecologists, farmers, indigenous communities, climate activists* others connected to environmentOrdinary people, often linked in some intimate and actionable way to Nature
ExamplesDune (Herbert) I, Robot (Asimov) Neuromancer (Gibson) 1984 (Orwell) Brave New World (Huxley) The Martian Chronicles (Bradbury) Childhood’s End (Clarke)The Ministry for the Future (Robinson) Annihilation (VanderMeer) A Diary in the Age of Water (Munteanu) The Windup Girl (Bacigalupi) Memory of Water (Itaranta) Waste Tide (Quifan) Camp Zero (Min Sterling) Bangkok Wakes to Rain (Sudbanthad) Lost Arc Dreaming (Okungbowa)Flight Behavior (Kingsolver) Migration by (McConaghy) Greenwood (Christie) Barkskins (Proulx) The Overstory (Powers) Oil on Water (Habila) Where the Crawdads Sing (Owens) Return of the Native (Hardy) Moby Dick (Melville)
MessageBroad speculative insight into human potential* & survival, future tech, and evolution of civilizationWarns pf ecological degradation, offers alternative visions of coexistence* often through personal or community perspectiveExploration of the human spirit, growth and inspiration through personal environmental awareness and action
StructureOften premise-based or plot-based; environment often ‘othered’Theme-based and character-based; environment often with agencyCharacter-based; environment may be metaphoric character with or without agency

*descriptions taken directly from Cho’s article

References:

Morton, Timothy. 2013. “Hyperobjects: Philosophy and Ecology After the End of the World.” University of Minnesota Press, Minneapolis. 240pp.

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.

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.

Eco-Fiction Readings at Little Ghosts Bookstore

Lynn Hutchinson Lee reads from her novel at Little Ghosts Bookstore, overseen by a 12-foot skeleton (photo by Nina Munteanu)

A short time ago, my good friend Lynn Hutchinson Lee was launching her eco-fiction book “Origins of Desire in Orchid Fens” published by Stelliform Press at Little Ghosts Bookstore on Dundas St. W. in Toronto. Also reading from their current eco-fiction were Rebecca Campbell (“The Other Shore”) and Mahaila Smith (“Seed Beetle”).

Launch poster

I drove from Peterborough along country roads to Toronto that morning. When I got there, I parked my car at Lynn’s place and walked without my umbrella in the light drizzle through the urban treed neighbourhood toward Little Ghosts Bookstore—about a forty-minute walk. Of course, it started to seriously rain at some point, but I cheerfully continued, noting how vibrant the vegetation and flowers had become and how progressively more damp I was becoming.

Entrance to Little Ghosts Bookstore (photo by Nina Munteanu)

I entered the bookstore dripping but on time and negotiated the small crowd, greeting some people I knew, as I steered myself toward the small café in the bookstore to order a hot beverage. I found myself admiring the small two-tiered bookstore with lovely Casper ghost motifs. As Lynn began her reading, I noticed a large skeleton peering right back at me through the café window next to her (see top photo).

Author Lynn Hutchinson Lee holds her book at Little Ghosts Bookstore with publisher Selena Middleton (photo by Nina Munteanu)

The Book:

Here’s how the publisher described the book:

A dizzying and beautiful debut, Origins of Desire in Orchid Fens explores life as a Romany woman in Canada, and the flowers that refuse to die.

Orchid Lovell is a young Romany woman haunted by a fear of being found out. Her family has been chased out of town before. After settling in a seemingly idyllic northern mining town that she soon understands as rife with unseen cruelty, Orchid finds solace in a lush orchid fen where she doesn’t fear the town’s judgement. Amid the green beauty of the fen, Orchid meets her beloved Jack, and marries him in a secret blackfly-infested ceremony.

But the town’s waters don’t only harbor life. In the nearby creek, dead girls take revenge on the men who murdered them, luring them into murky waters. Despite the unyielding nature of the water spirits, one man evades their violence. After a devastating attack linked to the expansion of the mine, Orchid’s fate is entwined with the panni raklies’ ruthless justice.

Written in over 100 dreamy mini-chapters, this novella explores the tenuous reality of the Romany diaspora living in troubled times on troubled lands.

“The prose is sensuous and lyrical, saturated with earthy, evocative enchantment … In the powerful and intimate novel Origins of Desire in Orchid Fens, a bold, loving heroine confronts racism, sexism, and classism.”

Foreword Reviews

“Every page seethes, oozes, and drips with the atmosphere of the fertile, foggy wetlands of Eastern Canada.”

Kyle R. Garton, Strange Horizons 
Publisher Selena Middleton with Stelliform books on display at Little Ghosts Bookstore (photo by Nina Munteanu)

The Bookstore:

Despite the dark subject matter, the small bookstore was inviting and well lit inside from large front and back windows, with happy Casper-ghost décor and store keepers with sunny dispositions and friendly manners.  This small indie bookstore with funky fun interior hosts a great selection of indie horror, a café with delicious drinks and a “chill place to hang out” and a 12-foot skeleton in the patio who oversees the café through the window. What more does a reader want?

Little Ghosts Bookstore t-shirt

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.

“A Diary in the Age of Water” Required Reading at Memorial University

A Diary in the Age of Water” at the Memorial University Bookstore

Instructor Keif Godbout-Kinney has made my eco-fiction novel A Diary in the Age of Water required reading in their course Feminist Practices and Global Change (GNDR 3008) at Memorial University, Newfoundland. The book is currently selling at the Memorial University Bookstore.

The Gender Studies course examines connections between feminist theories and activism for social and political change on a global scale.

My novel, told mostly through the diary of a limnologist, describes a world in the grips of severe water scarcity during a time when China owns the USA and the USA owns Canada. The diary spans a twenty-year period in the mid-twenty-first century of 33-year-old Lynna, a single mother who works in Toronto for CanadaCorp, an international utility that controls everything about water, and who witnesses disturbing events that she doesn’t realize will soon lead to humanity’s demise. 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 novel explores identity and our concept of what is “normal”—as a nation and an individual—in a world that is rapidly and incomprehensibly changing.

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.