Amazing Cover Art, Part 1: Tomislav Tikulin and Costi Gurgu

In my article “Should You Judge a Book by its Cover”, I wrote about the importance of cover art for book sales and to maintain integrity and satisfaction with the story inside. In the article, I pointed out that, “If you don’t know the author of the book, the nature—and implied promise—of the cover becomes even more important. If the book does not deliver on the promise of the cover, it will fail with many readers despite its intrinsic value. A broken promise is still a broken promise. I say cover—not necessarily the back jacket blurb—because the front cover is our first and most potent introduction to the quality of the story inside. How many of us have picked up a book, intrigued by its alluring front cover, read the blurb that seemed to resonate with the title and image, then upon reading our cherished purchase been disillusioned with the story and decided we disliked it and its author?”

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Liquid Silver’s romance / SF cover

Cover art provides an important aspect of writer and publisher branding. Cover artists understand this and address the finer nuances of the type and genre of the story to resonate with the reader and their expectations of story. This includes the image/illustration, typology, and overall design of the cover. A cover for a work of literary fiction will look quite different from a work of fantasy or romance. Within a genre, subtle qualities provide more clues—all of which the cover artist grasps with expertise.

I’ve been fortunate in my history as a professional writer to have had exceptional art work on the books I’ve written or collections and anthologies I’ve participated in (see the mosaic below of many but not all the covers my work has been associated with).

For most of my books, my publisher provided me with a direct link to the cover artist (e.g., Dragon Moon Press, Edge Publishing, eXtasy Books, Liquid Silver Books, Starfire, Pixl Press) and I retained some creative control. I even found and brought in the cover artist for two projects I had with Starfire.

 

Tomislav Tikulin and “The Last Summoner

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Dragon Moon’s SF cover

Croation artist Tomislav Tikulin was the artist my Dragon Moon publisher had found for my 2007 book “Darwin’s Paradox”. For Darwin, I worked closely with Tikulin, who created the compelling hard science fiction cover of “future Toronto” that has attracted readers to the book for years. Tikulin has done cover designs for many publishers and bestselling writers from Ray Bradbury’s Dandelion Wine and Arthur C. Clarke’s Rendezvous with Rama to Amazing Stories Magazine.

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Starfire’s fantasy cover

In perusing Tikulin’s website one day, I was transported by one of his illustrations—of an awestruck knight standing knee deep in a mire within a huge drowned cathedral. Shafts of golden light from the vaulted ceiling angled across, bathing the mire and the bemused knight beneath. There was a powerful story in that image, I thought, and wrote a whole book based on it: “The Last Summoner”. Imagine the feeling when I approached Tikulin to licence the image and then my Starfire publisher to use it—and both agreed! You’ll have to read the book to find out why the image was so important to the overall story. Graphic artist Costi Gurgu took Tikulin’s image and used his typology and design skills to create an extraordinary front and back cover and spine. You can learn more about Tikulin in my interview with him on The Alien Next Door.

 

Costi Gurgu and “The Splintered Universe Trilogy

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Starfire’s SF cover

I met Costi Gurgu and his wife Vali Gurgu at a science fiction convention in Montreal in 2009. Costi and Vali were successful graphic artists working on magazine covers and interiors for top magazines in Toronto. When I eventually moved there to teach at the University of Toronto, I discussed cover design with Costi. I was working on a detective thriller in space with kick-ass female detective and Galactic Guardian, Rhea Hawke. I’d initially envisioned the book as one entire novel with three parts, but it very soon became apparent to me that it was three actual books in a trilogy. The Splintered Universe Trilogy consists of Outer Diverse, Inner Diverse, and Metaverse.

I was intrigued by what Costi designed: a “Triptych” for the three books of The Splintered Universe Trilogy. In an interview I did on The Alien Next Door, I asked him what inspired him to come up with it and what did he like about it? Costi replied:

“Your main character, Rhea, undergoes a certain evolution from a regular human being to… let’s just say something else. And that evolution has three parts, one for each book of the trilogy and it also has a touch of divine. So, the triptych design, so often used for religious paintings, fits like a glove on the entire concept.”

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Starfire’s SF cover

I was very taken by how the design for the triptych carried a powerful image that conjures a portal or gateway into another world (which is what the trilogy is about). The reader is drawn into an infinite landscape, looking in, and Rhea is looking out from within in Outer Diverse, bursting through in Inner Diverse, and walking outside with confidence in Metaverse. Costi explained the meaning behind the symbols and colours he used: “The initial idea was for the red ring to be a sort of mapping device and a radar combined into one, since Rhea travels great distances in her quest. Then I realized it might as well be a portal device on top of everything else and serve all her travelling needs.

There were two options —either we would look with her outside, to whatever target she had, or look towards her. I thought that it would be more powerful if we could look towards her and see her determined face, see the unflinching resolution in her eyes, while she’s pondering her next move and readying herself to use the device once again. But to look towards her and see her in a confining room of a space ship, or such, would have defeated the purpose. So, I needed to have her against the infinite landscape as the backdrop. She is in a continuous journey to discover herself and this journey takes her literally through the infinite spaces of not just one universe.”

Costi also shared some of the process in creating a cover design:

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Starfire’s SF cover

“Technically speaking, I always start with sketches on paper, which I later scan. I mainly use Adobe Photoshop, but for this illustration I had to use Adobe Illustrator as well. Obviously, the layout and the typography were done in Adobe InDesign.”

Costi’s wife, Vali, was the model for Rhea Hawke. Some of the additional shoots can be seen in the Youtube book trailer). Costi shared that, “I had to decide how to treat her image. I could have gone towards a more glamorous, shiny look, like in a fashion image, or I could just simply keep it more realistic… I chose to keep it that way, because I wanted to offer a realistic image of an ex-police officer: a woman who was used to fighting and chasing criminals, rather than taking care of her appearance.”

You can read the complete interview with Costi on The Alien Next Door.

All Nina Munteanu books can be found on most Amazon sites.

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Sampling of publication cover art for works by Nina Munteanu (to 2017)

nina-2014aaaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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 recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

Nina Munteanu Talks Writing and Water on “Liquid Lunch” on That Channel

Nina Munteanu discusses her eco-fiction and water’s strange properties with Hildegard Gmeiner and Hugh Reilly on Liquid Lunch.

Nina Munteanu

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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 Munteanu Interviewed by Simon Rose on Fantasy Fiction Focus

On Fantasy Fiction Focus Nina Munteanu discusses with author Simon Rose about the writing process, the emerging hybrid publishing industry, the importance of branding yourself as an author, and what can authors do to successfully market themselves and their writing. She and Simon discuss the writing community and the importance of conventions and festivals for aspiring writers.

The interview was done in 2015 but what Simon and Nina discuss remains topical and germane.

Nina Munteanu

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

My Writing Retreat in Niagara-on-the-Lake

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Ravine Vineyard Estate Winery

When I’m not teaching writing at UofT in Toronto, I’m often writing at home. And if I’m not writing at home, I’m often traveling to where I will write. You get the picture: I’m a writer. My website mantra reads: “I live to write; I write to live.”

I’m always looking for great places to write, to synthesize observations and experiences for an article or to plot my next novel. As writers, we are constantly studying the nature of our surroundings, how people interact, what they do, how events affect us and more. Writing is as much about experiencing life as writing about it. But we need both to flourish: something to write about and a place to write about it.

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Noble Restaurant, Prince of Wales Hotel

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Horse and carriage on King Street

Recently a good friend of mine lured me out of town on a trip to Niagara-on-the-Lake. She didn’t blink an eye when I grabbed my computer and happily accompanied her on our wonderful adventure. We started at the Prince of Wales Hotel, named in honour of the 1901 visit of the Duke and Duchess of York, who were later crowned King George V and Queen Mary.

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Fred Gamula

We got there just in time for supper in the elegant and panoramic Noble restaurant. Of course, we had to order the divine “Grand Hotel Tasting Menu”, a four-course meal, paired with several fine wines. Sommelier Fred Gamula guided us through the “Grand Hotel Tasting Menu” of crisp romaine hearts, grilled chili marinated quail, pan seared trout and Grand Hotel Opera cake. Each course was paired with a wine that brought out the best in each; from an Inniskillin Chardonnay Reserve to a Flat Rock Twisted, to a Cave Spring Gamay and finally a Taylor Fladgate port. Gamula and I got into a diverting conversation about looking after the environment and water (I later gave him a copy of my book “Water Is…”).

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Patio of Prince of Wales Hotel

Gamula grew up on a small fruit farm in Niagara-on-the-Lake and has seen some changes in the area due to development. Some not so good. We agreed that the trick is to embrace influx while preserving the very reason for that influx—to enjoy and preserve the wonderful country, vineyards and wineries in the area.

I found a wonderful place to write on the Churchill Room patio facing King Street, where the horses and carriages waited for customers. As the sun set, I drank my Campari and orange juice and wrote my novel to the cheerful sounds of birds, rustling trees and exploring people.

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Nina and her favourite hippo

The next morning we wandered Queen Street before heading out to explore wine country. Curious about Reiner’s window display, I wandered into what I thought was a leather shop—expecting the usual fare such as purses, satchels, belts and the like; but it turned out to be a speciality leather ottoman store.

HippoOttomanThese weren’t ordinary ottomans—they were all animals! Hippos, bears, moose, elephants and pigs stood on stout legs, begging for a nice home to live in.

The store is named after leather crafter Reiner Henneveld who came to Canada in 1950 from Germany and created his first animal-shaped ottoman in the shape of a pig—after his pet pig, Wilbur. Reiner’s two sons have taken up the craft with a commitment to individual design and workmanship that includes hand sewing, cutting and stuffing and using the finest upholstery leather. I found them comfortable and very attractive.

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Wayne Gretzky with his “99”

After lunch we visited old favourites and explored new vineyards and wineries. Wayne Gretzky Estates recently opened its winery and distillery on Old Stone Road. The estate is getting known for its No. 99 Red Cask Canadian Whisky; “the same soils that produce great grapes also grow grains that are used to produce whisky,” they write. The whisky is made in small batches from rye, malted rye and corn that has been individually mashed, fermented and distilled. After aging, the whisky is finished with red wine casks from the Wayne Gretzky winery.

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General store of Ravine Vineyard Estate Winery

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Pork chop, sea-salted bread and Sangria at the Ravine restaurant

The Ravine Vineyard Estate Winery is an old haunt for its charming and diversely stocked general store and its rustic-style restaurant with imaginative and surprising menus. Both inside and outside seating offer vistas of undulating countryside and the sounds of a working vineyard. Another great place to write!

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A sparrow sings his heart out on his very own house in Ravine vineyard

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Free range chickens roam the vineyard at Ravine

I’m half-inclined to shift over to writing a murder-mystery series about a young recent George Brown graduate who comes to Niagara-on-the-Lake to work as a Sommelier in one of the hotels—only to find intrigue and—of course—a murder to solve. What do you think?…

 

nina-2014aaa

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

 

 

 

 

 

 

 

 

 

 

On Being a Canadian Writer in the Age of Water

Canada is the only country in the world that knows how to live without an identity.”—Marshal McLuhan 

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Nina  “reading” in Granby, Quebec

I was born some sixty+ years ago, in the small town of Granby in the Eastern Townships to German-Romanian parents. Besides its zoo—which my brother, sister and I used to visit to collect bottles for a finder’s fee at the local treat shop—the town had no particular features. It typified French-Canada of that era. So did I. I went to school in Quebec then migrated across to the west coast to practice and teach limnology. Given that Canada holds at any one time a fifth of the Earth’s freshwater, that also made sense.

Canada is a vast country with a climate and environment that spans from the boreal forests of the Canadian Shield, muskegs of northern BC, and tundras of the Arctic Circle to the grasslands of the Prairies and southern woodlands of Ontario and Quebec. Canada’s environment is vast and diverse. Like its people.     

Ecologist vs Nationalist

Ecology is the study of “home” (oikos means ‘home’ in Greek). Ecology studies the relationships that make one’s home functional. It is, in my opinion, the most holistic and natural way to assess where we live. My home is currently Toronto, Ontario, Canada and ultimately the planet Earth.

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The Eastern Townships in autumn are a cornucopia of festive colours.

Growing up in the Eastern Townships of Quebec, I’d always felt an abiding sense of belonging and I resonated with Canada’s national symbols—mostly based on Nature and found on our currency, our flag, and various sovereign images: the loon, the beaver, the maple tree, our mountains and lakes and boreal forests. Why not? Canadians are custodians of a quarter of the world’s wetlands, longest river systems and most expansive lakes. Most of us recognize this; many of us live, play and work in or near these natural environments.

I have long considered myself a global citizen with no political ties. I saw my country through the lens of an ecologist—I assessed my community and my surroundings in terms of ecosystems that supported all life, not just humanity. Was a community looking after its trees? Was my family recycling? Was a corporation using ‘green’ technology? Was a municipality daylighting its streams and recognizing important riparian zones? I joined environmental movements when I was a teenager. I shifted my studies from art to science because I wanted to make a difference in how we treated our environment. After university, I joined an environmental consulting firm, hoping to educate corporations and individuals as environmental stewards. I brought that philosophy into a teaching career and began writing eco-fiction, science fiction and essays to help promote an awareness and a connection with our natural world. My hope was to illuminate how important Nature and water is to our planet and to our own well-being through an understanding of ecology and how everything is interconnected.

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Nina kayaking Desolation Sound in British Columbia

When I think of Canada, I think of my “home”, where I live; my community and my environment. I have traveled the world and I feel a strong sense of “home” and belonging every time I return. Canada is my home. I was born and grew up in Quebec. I lived in British Columbia, Ontario, and Nova Scotia; each of these places engendered a feeling of “home”.

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The Dory Shop in Lunenburg, Nova Scotia

I think that part of being a Canadian is related to this sense of belonging (and pride) in a country that is not tied to some core political identity or melting-pot mainstream.

Historian and writer Charlotte Gray wrote:

“we live in a country that has a weak national culture and strong regional identities …Two brands of psychological glue bind Canada together: political culture and love of landscape…[in] a loose federation perched on a magnificent and inhospitable landscape—[we are] a nation that sees survival as a collective enterprise.”—Charlotte Gray

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Marsh near Barkerville, BC (photo by Nina Munteanu)

Canada as Postnational State

In October 2015, Canada’s Prime Minister Justin Trudeau told the New York Times that Canada may be the “first postnational state,” adding that “there is no core identity, no mainstream in Canada.” This is largely because Canadians, writes Charles Forman in the Guardian, are “philosophically predisposed to an openness that others find bewildering, even reckless.”

Trudeau-RollingStoneTo anyone but a Canadian, Trudeau’s remark would rankle, particularly in a time when many western countries are fearfully and angrily turning against immigration through nativism and exclusionary narratives. A time when the United States elected an authoritarian intent on making “America great again” by building walls. A time when populist right-wing political parties hostile to diversity are gaining momentum in other parts of the world. “Canada’s almost cheerful commitment to inclusion might at first appear almost naive,” writes Forman. It isn’t, he adds. There are practical reasons for keeping our doors open.

We are who we are because of what we are: a vast country the size of Europe. A country dominated by boreal forest, a vital and diverse wilderness that helps maintain the well-being of our entire planet. A land that encompasses over a fifth of the freshwater in the world, and a quarter of the world’s wetlands. Canadians are ultimately the world’s Natural stewards. That is who and what we are.

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Eramosa River, Ontario (photo by Nina Munteanu)

According to Forman, postnationalism frames how “to understand our ongoing experiment in filling a vast yet unified geographic space with the diversity of the world” and a “half-century old intellectual project, born of the country’s awakening from colonial slumber.” As the first Europeans arrived in North America, the Indigenous people welcomed them, taught them how to survive and thrive amid multiple identities and allegiances, writes Forman. “That welcome was often betrayed, particularly in the 19th and 20th centuries, when settlers did profound harm to Indigenous people.” But, says Forman, if the imbalance remains, so does the influence: a model of another way of belonging. One I think many Canadians are embracing. We are learning from the natural wisdom of our Indigenous peoples. Even our fiction reflects how we value our environment and embrace diversity. “Diversity fuels, not undermines, prosperity,” writes Forman.

As efforts are made to reconcile the previous wrongs to Indigenous peoples within Canada and as empowering stories about environment are created and shared, Canada carries on the open and welcoming nature of our Indigenous peoples in encouraging immigration. In 2016, the same year the American government announced a ban on refugees, Canada took in 300,000 immigrants, which included 48,000 refuges. Canada encourages citizenship and around 85% of permanent residents typically become citizens. Greater Toronto is currently the most diverse city in the world; half of its residents were born outside the country. Vancouver, Calgary, Ottawa and Montreal are not far behind.

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Mom and son explore BC wilderness

Canadian author and visionary Marshal McLuhan wrote in 1963 that, “Canada is the only country in the world that knows how to live without an identity.” This is an incredible accomplishment, particularly given our own colonial history and the current jingoistic influence of the behemoth south of us.

Writer and essayist Ralston Saul suggests that Canada has taken to heart the Indigenous concept of ‘welcome’ to provide,

“Space for multiple identities and multiple loyalties…[based on] an idea of belonging which is comfortable with contradictions.”

Of this Forman writes: “According to poet and scholar BW Powe, McLuhan saw in Canada the raw materials for a dynamic new conception of nationhood, one unshackled from the state’s ‘demarcated borderlines and walls, its connection to blood and soil,’ its obsession with ‘cohesion based on a melting pot, on nativist fervor, the idea of the promised land’. Instead, the weakness of the established Canadian identity encouraged a plurality of them—not to mention a healthy flexibility and receptivity to change. Once Canada moved away from privileging denizens of the former empire to practicing multiculturalism, it could become a place where ‘many faiths and histories and visions would co-exist.”

NaturalSelection-front-webAnd that’s exactly what is happening. We are not a “melting pot” stew of mashed up cultures absorbed into a greater homogeneity of nationalism, no longer recognizable for their unique qualities. Canada isn’t trying to “make Canada great again.”

Canada is a true multi-cultural nation that celebrates its diversity: the wholes that make up the wholes.

Confident and comfortable with our ‘incomplete identity’—recognizing it for what it is—is according to Forman, “a positive, a spur to move forward without spilling blood, to keep thinking and evolving—perhaps, in the end, simply to respond to newness without fear.”

This resonates with me as an ecologist. What I envision is a Canada transcending the political to embrace the environment that both defines us and provides us with our very lives; a view that knows no boundaries, and recognizes the importance of diversity, relationship and inclusion, interaction, movement, and discovery.

So, am I proud of Canada? Definitely. We have much to be proud of. Canada is the 8th highest ranking nation in the Human Development Index. Canada ranks among the highest in international measurements of government transparency, civil liberties, quality of life, economic freedom, and education. It stands among the world’s most educated countries—ranking first worldwide in the number of adults having tertiary education with 51% of adults holding at least an undergraduate college or university degree. With two official languages, Canada practices an open cultural pluralism toward creating a cultural mosaic of racial, religious and cultural practices. Canada’s symbols are influenced by natural, historical and Aboriginal sources. Prominent symbols include the maple leaf, the beaver, Canada Goose, Common Loon, the Royal Canadian Mounted Police, the polar bear, the totem pole, and Inuksuk.

PolarBearMum-pups

Water Is-COVER-webWe are a northern country with a healthy awareness of our environment—our weather, climate and natural world. This awareness—particularly of climate change—is more and more being reflected in our literature—from Margaret Atwood’s “Maddaddam” trilogy and Kim Stanley Robinson’s “2041” to my short story collection “Natural Selection” and non-fiction book Water Is… .

Water AnthologyCanadians are writing more eco-fiction, climate fiction, and fiction in which environment somehow plays a key role.

Water has become one of those key players: I recently was editor of the Reality Skimming Press anthology “Water”, a collection of six speculative Canadian stories that optimistically explore near-future scenarios with water as principle agent.

The Way of Water-COVERMy short story “The Way of Water” is a near-future vision of Canada that explores the nuances of corporate and government corruption and deceit together with resource warfare.

First published as a bilingual print book by Mincione Edizioni (Rome)  (“La natura dell’acqua”), the short story also appears in several anthologies including Exile EditionsCli Fi: Canadian Tales of Climate Change” and “Future Fiction: New Dimensions in International Science Fiction“.  My upcoming “A Diary in the Age of Water” continues the story.

Adobe Photoshop PDFCanadian writer and good friend Claudiu Murgan recently released his book “Water Entanglement“, which also addresses a near-future Canada premise in which water plays a major role.

In a recent interview with Mary Woodbury on Eco-Fiction, I reflected on a trend over the years that I noticed in the science fiction writing course I teach at George Brown College: “It’s a workshop-style course I teach and students are encouraged to bring in their current work in progress. More and more students are bringing in a WIP with strong ecological overtones. I’d say the percentage now is over 70%. This is definitely coming from the students—it’s before I even open my mouth about ecology and eco-fiction—and what it suggests to me is that the welfare of our planet and our ecosystems is on many people’s minds and this is coming through in our most metaphoric writing: science fiction.”

It is healthy to celebrate our accomplishments while remembering where we came from and what we still need to accomplish. This provides direction and motivation.

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Deer Lake, BC (photo by Nina Munteanu)

Canadians are custodians of a quarter of the world’s wetlands, longest river systems and most expansive lakes. Canada is all about water… And so are we.

We are water; what we do to water we do to ourselves.

Happy Canada Day!

 

References:

Dechene, Paul. 2015. “Sci-Fi Writers Discuss Climate Catastrophe: Nina Munteanu, Author of Darwin’s Paradox.” Prairie Dog, December 11, 2015.

Forman, Charles. 2017. “The Canada Experiment: Is this the World’s First Postnational Country?” The Guardian, January 4, 2017.

Gray, Charlotte. 2017. “Heroes and Symbols” The Globe and Mail.

Moorhouse, Emilie. 2018. “New ‘cli-fi’ anthology brings Canadian visions of future climate crisis.” National Observer, March 9, 2018.

Munteanu, Nina. 2016. “Crossing into the Ecotone to Write Meaningful Eco-Fiction.” In: NinaMunteanu.me, December 18, 2016.

Newman-Stille, Derek. 2017. “The Climate Around Eco-Fiction.” In: Speculating Canada, May 24, 2017.

Woodbury, Mary. 2016. “Part XV. Women Working in Nature and the Arts: Interview with Nina Munteanu, Ecologist and Author.” Eco-Fiction.com, October 31, 2016.

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Nina Munteanu on the Credit River, Ontario (photo by Merridy Cox)

 

nina-2014aaaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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 recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

 

Limestone Genre Expo—May 2018

2018 was the fourth year for Limestone Genre Expo, Kingston’s only genre writing festival. I’ve been to the expo each year from its inaugural festival in 2015. The festival gets its name from the city’s moniker, based on the many heritage buildings constructed there using the local limestone.

In 2016 I was delighted to be the science fiction guest of honour. In 2017, the expo was held at the Saint Lawrence College campus.

 

Nina-SF GOH-Limestone Genre Expo 2016

This year, the expo was held at the Holiday Inn, right on the waterfront and literally a staggering distance from the Merchant Tap House, one of the greatest pubs and eateries of the town.

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Merchant Tap House, Kingston (photo by Nina Munteanu)

As before, the festival covered several of the major genres such as fantasy, science fiction, horror, romance and mystery, with representation by well-known authors in each. Organizers offered a triple track program from 10 am to 5 pm that included panels, informative workshops, readings, book launches, and novel pitch sessions with Bundoran Press.

Liz Strange and programming organizers had me in several panels throughout the two-day expo.

Panels I participated in and in some cases moderated included:

“Mental Health Representation in Fiction: More than Villains” with Michael Slade, Therese Greenwood, Ada Hoffmann, Matt Moore and Madona Skaff. I really enjoyed this panel discussion that explored our evolving perception and representation of mental health in story and in our real lives.

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Matt Moore, Nina Munteanu, Madona Skaff, Michael Slade, Theresa Greenwood (photo by Marlene Smith)

“Why Do We Love a Good Whodunit?” with Michael Slade, M. H. Callway, Katherine Prairie, Jim Napier, Melissa Yi, and Rosemary McCracken.  The panel and I had fun with this discussion as bizarre real-life stories were thrown into this mix.

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Katherine Prairie, Michael Slade, Melissa Yi, M.H. Callway, Rosemary McCracken, Nina Munteanu

“What Makes a Great Hero?” with Kate Heartfield, Tobin Elliott, Theresa Greenwood, Kris Jacen, Donna Warner, and Douglas Smith. The panel debated what makes a hero, then anti-hero, then sad and terrible hero, then non-hero…and ultimately to the journey of our at times miserable but great hero.

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Douglas Smith, Theresa Greenwood, Nina Munteanu, Donna Warner, Tobin Elliott, Kate Heartfield

“Dystopian Fiction: How to write when the world is falling apart” with Una Verdandi, Robin Timmerman, Brad Baker, Tapanga Koe, Hayden Trenholm and Ursula Pflug. In this rather passionate discussion, we debated the state and shape of dystopia in both the real world and the fiction world and how they inevitably bleed together for the writer.

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Nina signs “The Last Summoner” for colleague and reader Agnes

“Women of Science Fiction” with Hayden Trenholm, Laura Baumbach, Ada Hoffmann, Tanya Huff, Tapanaga Koe, and Nancy Baker.  Hayden emerged amid his female colleagues to astutely discuss the reason we are still discussing this topic.

I also sold a number of books, including Water Is… (a Margaret Atwood favourite), my journal and fiction writing guidebooks (The Journal Writer and The Fiction Writer), Reality Skimming’s Water Anthology, for which I was editor, and The Last Summoner.

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authors Agnes Jankiewicz and Nina Munteanu

One of the key charms of this small venue is that it still provides an intimate setting for great networking. I had a chance to meet many of my old friends and to make new ones. Thanks to Liz, Marlene and wonderful volunteers for another great writing festival!

 

Nina Munteanu

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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 Munteanu Talks About “Water Is…” on Green Majority CIUT Radio

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Nina with Saryn Caister of Green Majority CIUT Radio

Host Saryn Caister of The Green Majority CIUT Radio 89.5 FM discusses “Water Is…” with Nina Munteanu and her philosophy to learning and knowledge.

The interview covers some of water’s anomalous properties and why Nina decided to write a book that spans and integrates such a wide variety of angles and subjects from traditional science to spirituality.

CIUT-radioLOGOSaryn and Nina discuss some of water’s controversial properties and the claims about water and how geopolitics plays a role in this. She brings in her own career as a limnologist and how she broke away from her traditional role of scientist to create a biography of water that anyone can understand—at the risk of being ostracized by her own scientific community (just as Carl Sagan and David Suzuki were in the past).

Saryn shared how Ray John Jr., an Indigenous teacher, on a previous show reminded us why these things matter.

Water Is-COVER-webNina responded with, “The why of things and hence the subtitle: the Meaning of Water. What does it mean to you… That’s what’s missing a lot of the time. We are bombarded with information, knowledge and prescriptions but the subliminal argument underneath—the why—why should it matter to me—is often missing. That becomes the sub-text. And it’s nice when it comes to the surface.”

 

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Hart House, University of Toronto

 

nina-2014aaaNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

 

Places to Write: My Secret Places at The University of Toronto

notebook01In my writing guidebook The Journal Writer: Finding Your Voice I write a section on finding the right time and place to write. I call them “sacred”, because that’s what they are. Without them, we struggle to write. In Chapter Two of The Journal Writer I write about the need for a sacred place in journal writing, particularly. The advice is equally important to any form of writing.

Journal Writer-FRONT-cover-WEBFinding the perfect place(s) to write … is important to creating meaningful entries. Journal writing is a reflective activity that requires the right environment for you. The best environment is a quiet one with no interruptions and where you are alone. A reflective environment will let you relax, find a connection with yourself and your feelings. You need a place where you can relax and not worry about someone barging in or other things distracting you from your thoughts. You should also feel physically comfortable and the place should meet your time requirements.

Because the suitability of a place can change with the time of day, learn the rhythms that affect the place you wish to write in. For example, the kitchen may be the centre of activity during the day but an oasis of quietude during the evening. Similarly, learn what kind of environment stimulates and nurtures your writing. Does music help or do you need complete quiet? Do you respond to nature’s soft breezes and sounds or do you prefer to surround yourself with the anonymous murmur of a crowded café for company?

Places that work for me include the local coffee shop, a park near my house, a library or other quiet place where I can enjoy uninterrupted anonymity. Where you write may reflect what you’re writing and vice versa. To some extent, you are environment and environment is you. You might try a few places first and see what happens to the content of your entries. Entries you make while sitting under an apple tree in the breeze hearing the birds singing may differ from entries you make while sitting in your living room by the crackling fireplace with music playing or sitting at your desk in your bedroom in total silence or in a crowded café surrounded by cheerful bustle. I give more details on how to feed the muse in Chapter 4.

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Sitting in Krave’s outside patio

Some of my favourite places to write are indie cafés that express unique character and rich ambience. Amid the desultory chatter and laughter of people and sipping my flat white, I find myself deep in writing. These days you can most likely find me somewhere on the University of Toronto campus where I teach engineering students, social science students, and health science students how to write.

It’s been four years since I came to UofT and I still feel a glow every time I walk through campus. Whether it’s past a century-old stone building, beneath a canopied archway of chestnuts, into a well-treed enclave, or through a high-ceilinged glass building; I am both home and on an adventure.

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Convocation Hall, UofT

UofT is a place of learning—erudite, splendid, lofty yet humble—and beautifully epitomizing “new embracing old”. When new embraces old, we get magic. Wizard-magic. Harry Potter kind of magic. The kind of magic that only someone who is open, faithful, and confident can wield. This is ancient magic. The magic that lurks like Reznikoff’s ghost in the ancient halls of University College, or the magic currently wielded at 1 Spadina. A magic borne of wisdom, lore, and story.

Established in 1827, the University of Toronto is snugly located in the centre of downtown Toronto; yet, it’s not so much a part of the city as the city is a part of it.  UofT’s campus probes into the city’s infrastructure like a creative amoeba: interacting, absorbing and expressing. The UofT downtown campus sprawls dozens of blocks in all directions; embedding itself in the city with a blend of century-old buildings and avant-garde modern chic. It’s not so much re-inventing itself at every turn as morphing and co-evolving with the city.

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Clock tower, UofT

The UofT campus represents for me the very best the city—any city—has to offer: a vibrant, well-connected place of learning and activity, supported by original and tasteful landscape architecture: healthy trees and parkland full of songbirds, tasteful new and old architecture and alluring courtyards and doorways that beckon my creative soul. The UofT campus provides a myriad of possibilities and historic depth for the adventurous soul. Did you know, for instance, that Canada’s first electric computer was installed at UofT? Or that UofT is haunted? Or that much of UofT’s architecture was inspired by structures at Oxford and Cambridge? Or that an old nuclear accelerator sits fallow in the McLennan Physical Labs building?

My creative soul appreciates UofT’s integration of nature into its architecture and grounds. Its natural enclaves provide ideal settings for quiet contemplation and reflection. They’ve become my “secret places,” destinations along my journeys across campus to my various writing appointments. Places where I can sit, reflect and write. Here are just a few:

  1. Terrence Donnelly’s Bamboo Garden in Terrence Donnelly Centre:
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Steps leading up past bamboo garden of Terrence Donnelly Centre

The Terrence Donnelly Centre for Cellular & Biomolecular Research (CCBR) is where some of the coolest research and discoveries in biomolecular and cellular research are being made. Benjamin Blencowe and his team’s recent uncovering a protein’s sweeping influence on autism last December using introverted mice, for instance. Named after the philanthropist Terrence J. Donnelly, the centre was the vision of UofT Professors Cecil Yip and James Friesen.

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View of garden resting area from above

In the 1990s they foresaw that new genomic technologies would open-up progress in biomedical research in a time when there was no human genome sequence or stem cell technologies and DNA sequencing was slow and inexpensive. Yip and Friesen envisioned a collaborative and interdisciplinary research facility that, when it opened in 2005, brought together over 500 specialists—biologists, computer scientists, physicians, pharmacists and engineers—to advance the university’s groundbreaking research in molecular biology.

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View of Rosebrugh wall from the garden

The centre is located on what was previously Taddle Creek Road. The CCBR building—which from College Street resembles two colourful stacked cubes—is set back by a gradually sloping plaza with granite benches and groves of white paper birch. The building and plaza are flanked by several historic buildings (80-year old Fitzgerald Medical Building to the east; the 1919 Rosebrugh Institute of Biomaterials and 100-year old Lassonde Mining building to the west; and the Medical Sciences Building to the north).

 

The bamboo garden in Donnelly’s spacious atrium is meditative and calming; a lush forest of bamboo and shrubs amidst wooden floors, benches and steps. Created by landscape architect Diana Gerrard, the garden offers several “picnic” sites of wooden platforms and benches, which I learned had come from the ash, tulip and cherry trees that had occupied the original lane way.

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Entranceway with bamboo garden of Terrence Donnelly Centre

Upon entering the complex from College Street, the granite plaza gives way to white terrazzo flooring in an expansive multi-story atrium. The top lit glass-ceilinged atrium connects the adjacent heritage Rosebrugh building to the CCBR in a counterpoint of techno-minimalism with Romanesque tradition. As I walk up the shallow wide steps lined by pillars that reach skyward, the tall bamboo forest to my left beckons. I’ve had many lunches there. I also spend many moments sitting there with a book, reading or just daydreaming beneath a texture of greens.

  1. Breezeway of Knox College Quad:
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Knox College breezeway in winter

I usually enter the perpendicular gothic style building from St. George Street; though, you can also come in via Kings College Circle, past the chapel—known for its Hellmuth Wolff organ. Once I pass through the heavy doors of the St. George entrance, I enter a dark foyer and instantly feel like I’m in a church. The chapel is on the other side, yet the deep quiet and surrounding dark wood of the floors, walls and stairways to the right and left of me, enclose me with a sense of sacred holiness. I walk the echoing foyer to the stained-glass doorway of the breezeway ahead. As I open the glass door, the complex scent of tulips and pine greets me with the warm breeze. I have entered another magic place.

The gothic archway that connects the Knox College Quad is an open breezeway that looks out onto the interior gardens of the quad. Tables and chairs along each side provide a peaceful place to read and write with a quiet view of the outside courtyard of flowers, shrubs, trees and benches. Hanging vines provide additional greenery in the archway.

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Knox College breezeway through courtyard

Whenever I come here, the hustle and bustle of the city just fades away. Busy St. George Street is nearby; yet I don’t feel its influence within this quiet haven, where the soft sounds of Nature embrace me with their songs and stories. I often come here to read and write. I listen to the birds and other natural sounds, letting them lull me into a meditative quietude of bliss. Life slows to a philosopher’s pace and my creative muse awakens. Sometimes I bring one of my indulgences—a poutine from one of the chip trucks on St. George—and feast in my secret place as Nature’s melodies feed my soul. On a warm day, the breezeway also provides a cool respite.

  1. The Laidlaw Quadrangle behind University College
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West gate into University College courtyard

When I first discovered this hidden quadrangle, I felt goosebumps of pure magic course through me. My discovery visit was through the west arched entranceway off the west green, past Bissell House. I passed the gateway into the Courtyard Colonnade, and faced a sunken courtyard shaded by large ironwood and maple trees and surrounded by gothic brick and stone. I’d entered an enchanting world of quiet reflection.

A paved walkway—supported by retaining walls and planted with flowering shrubs—runs on three sides of the quadrangle. The walkway broadens into a terrace to the north, forming an extension of the new Library colonnade. Mature maple and ironwood trees overhang the cloisters and the walkway.

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West colonnade of quadrangle

Designed by Canadian landscape architect Michael Hough, the quadrangle evokes the courtyards of medieval monasteries and old English universities. Built in 1964, when the Laidlaw wing (and library) separated the college from back campus, Hough’s design translates the essential feature of a monastery or college courtyard—access from inside the building to a covered walk around an open centre—from architecture to landscape.

 

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View of courtyard (to left) from west cloister of University College

I’ve since discovered other ways to enter and leave the quadrangle, each one presenting a new perspective to this peaceful place. Each time I come here, I feel my soul sigh with joy. Birds sing the poetry of Nature. Leaves rustle as the wind plays on them. When I’m here, I feel at peace in the city.

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UofT Faculty Club

UofT Faculty Club: Every journey requires repast—a place to relax, eat and drink—and my feet naturally direct me to one of my new favourite haunts: the UofT Faculty Club. Located close to the hub of the campus, on Willcocks Street just east of Spadina, the club is open to members who include faculty, staff, graduate alumni and their guests. I enter the 1896 heritage building, built in a Georgian Revival-style, and passed the elegant first floor lounge to the pub below. The pub welcomes me with excellent food, drink and a relaxing ambience. Bathed in rich tones of wood and comfortable chairs and warmed by a cozy fireplace, it reminds me of a Dorset pub I’d visited years ago; full of colourful characters and a well-stocked bar.

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Windows of University College

I feel both at home and like a traveler. Like I’d walked into history with modern comfort. I order the beet salad from my friendly waitress; it provides a refreshing and attractive light meal for a mid-day travelling writer.

Nina Munteanu

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

 

Pictures by Nina Munteanu

 

 

New Directions in Self-Publishing: A Discussion by Writers and Editors

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I was recently invited by Editors Toronto and the Toronto chapter of PWAC to participate in a panel (co-sponsored and hosted by UofT’s Creative Writing Program) exploring the current state of self-publishing and the publishing industry in general. I was one of four professionals whose work has involved all facets of the industry from POD, hybrid models, and ebooks to crowdfunding and writing communities.

The four speakers included:

MeghanBehse_closeMeghan Behse, the president of PubLaunch Inc., a new online marketplace and crowdfunding platform where writers, readers, and publishing professionals join forces to get books published. In her role as publisher, she steered Iguana through a new world of digital and print-on-demand publishing while experimenting with unique royalty arrangements and funding models, including crowdfunding. Behse talked about how PubLaunch is using emerging technologies to help overcome the obstacles writers continue to face in the self-publishing industry.

nina-munteanuNina Munteanu, an experienced editor of traditionally published and self-published books, and an award-winning author of eight novels, including Darwin’s Paradox and The Splintered Universe Trilogy. A frequent contributor to Amazing Stories and the current editor of Europa SF, Munteanu teaches writing at George Brown College and the University of Toronto and has also published short stories, essays, and non-fiction books. Her latest book is Water Is…The Meaning of Water, a scientific study and personal journey as limnologist, mother, teacher, and environmentalist. Munteanu provided an overview of the industry—including use and misuse of terms—then spoke about evolving professional standards in self-publishing, and what these changes mean for writers and editors.

sfyshStephanie Fysh, a Toronto-based freelance editor of independent authors in a variety of genres, including fantasy, science fiction, YA, romance, and erotica, and the former chair of Ryerson University’s Publishing program. She works with hybrid publishers on projects that range from harrowing memoirs to comedy, and still enjoys a textbook project that she can learn something from. Using her own experience as example, she talked about what self-publishing authors look for in an editor, and how that differs from the roles built into traditional or hybrid publishing.

MarkLeslieLefebvre_LaurenLangMark Leslie Lefebvre, the author of more than a dozen traditionally published and self-published books, a professional speaker, a digital publishing advocate, and a bookseller with more than a quarter century of experience.  Lefebvre explained what prompted him to self-publish “ten years before any self-respecting writer would admit to such a foul thing.” And he’ll tackle the big-picture questions: “What is currently wrong with self-publishing, and how can we work together to fix that?”

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I started the panel discussion with an overview of the publishing industry from traditional to indie to self-publishing. I overviewed five main publishing models and discussed advantages and disadvantages depending on needs and perspectives of the writer. A few advantages of self-publishing include: 1) getting a book to market more quickly than through the traditional publishing path; and 2) having more control over the end product.

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The downsides in self-publishing arise from the same: 1) getting a book to market more quickly may seduce writers to compromise the lengthy process of perfecting their work (provided by editors, layout and cover artists) to put something out before it is ready; and 2) having more control also means more responsibility borne by the writer (the need to understand more in book production and marketing than a writer in the traditional process needs to). Another important disadvantage to self-publishing lies in more restricted distributing, marketing and exposure.

In my talk, I emphasized that while the current industry is providing great opportunities, with these come great responsibilities.

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Authors and editors are currently facing a sea of possibilities. New directions, models, collaborations and structures face us as the publishing industry morphs into something new. Self-publishing and hybrid-players are at the forefront of that evolving tide of new publishing. And it’s very exciting!

Suzanne Bowness of PWAC Toronto provided a good summary of the panel discussion on PWAC’s blog Networds, and shared by the Editors Toronto blog Boldface. Editor and publishing consultant Michelle MacAleese who attended the event made these observations:

  • Many in the biz draw a distinction between self-published authors and hybrid-published authors; both are “independent,” but the self-published authors are a special breed, who *are starting to understand art and business and (usually) gladly develop proficiency in all the technical and administrative details of the process.
  • Not surprisingly, options for authors continue to change rapidly. What worked best in 2011 is irrelevant today. Many quality companies offer publishing services and hybrid publishing deals. (Many companies will pretty much just steal your money. One must read up before signing up. *Research is paramount)
  • The best publishing option for e-only genre fiction won’t be the same as for a debut hardcover business book. It’s a wide world of independent publishing.
  • Authors: If you don’t love technical things (formatting ebooks, working Amazon’s categories, tweaking descriptive copy), you probably won’t enjoy starting a publishing house of one.
  • Editors: Working with self-published authors is a specialty and those editors who are good at taking on that relationship and guiding the process are worth their weight in gold. (Isn’t it about time we begin to mentor each other in why this kind of author-editor relationship is unique, and how it borders on the agent role at times? *This is a great opportunity for editors willing to evolve and grow.)
  • Editors who already specialize in working with self-published authors: Let’s talk about how to partner with reputable publishing services companies as well as with other independent designers and book marketing professionals to launch great self-published books that sell! This point was just touched upon in the panel and is still evolving; again, editors are uniquely positioned as author-consultants to play key roles in new networks of independent professionals in the publishing industry. *italics throughout are mine

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A few years ago, I gave a talk at Editors Toronto on the industry from the self-publishing author and freelance editor’s perspective. It remains highly relevant today, given that it spoke to the changing face of publishing and what it means for editors and writers. Editors learned about self-publishing and indie publishing, publishing myths, and imaginative ways to find new editing opportunities:

Self-publishing used to be a scar; now it’s a tattoo.”–Greg Cope White

Other relevant articles include:

Nina Munteanu on the Author-Editor Relationship

Beating Today’s “S” Curve (or Why an Editor is Every Writer’s Best Friend)

Walking the Tightrope Between Innocent and Cynical

The Moving Target of Indie Publishing: What Every Editor (and Writer) Needs to Know

The Writer-Editor Relationship, Part 1: Editors Preparing Writers

The Writer-Editor Relationship, Part 2: Five Things Writers Wish Editors Knew—and Followed

The Hidden Costs of Self-Publishing, Part 1: The Solution to “Author Solutions”

What Indie Authors Should Know for 2015

Surfing the Hybrid Wave of Publishing

The Indie Book Tidal Wave…What Does it Mean for Bookstores, Publishers & Writers?

  

nina-munteanuNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of

When Do You Know Your Story Is Finished?

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Spalted maple log (photo by Nina Munteanu)

A student of mine once asked me how many drafts it took to get the final version of a story. I answered cagily: as many as you need. I wasn’t trying to be cheeky or elusive. In truth, this is a question that only you can answer; and it will be different with each story you write.

George Lucas once said in an interview about the remaking of Star Wars that in the film industry, projects were never finished; only abandoned. What he meant by this was that at some point in the creative and revision process of polishing a story, you have to stop and show it to the world. Let your baby walk and stand on its own.

This is a big step for all beginning writers and many will freeze. Terrified at the idea of failure or censure, they end up sabotaging their own work. If you’re emotionally or psychologically not ready for the consequences of getting published, then you will falter, procrastinate, forever fuss over your creations and convince yourself that it isn’t ready. In truth, it’s you who aren’t ready.

This is a shame because to have written an entire novel is a great accomplishment. You’ve already done what over 80% of those who embark on a book don’t do: finish it. To halt the process by entering a perpetual cycle of revision is admitting defeat when you have really won the major battle. It’s like that fatal stumble on the last leg of a homerun.

If the idea is to publish, then you need to give yourself a kind of deadline or goal, based on something that makes sense to you and is achievable. This could even include a time deadline.

Robert J. Sawyer’s response to the question of “when do you stop revising?” was: “When you’ve taken out all the boring bits.” That may seem on the face of it either too simple or too abstract. But, in fact, he is right on the mark. However, to truly achieve that conclusion and consequently get your manuscript to where it is meant to be without you lingering like a frightened ghost, you need to accurately perceive what “boring” is. In order to do this you need to do several things.

The first is to gain objectivity of your work. You accomplish this by setting it aside for a while and letting it “breathe” (really, you’re letting yourself breathe). By distancing yourself a little from your work, you are able to return with a fresh outlook and read it more like a reader. Your “boring” meter will be running better this way and you will be in a better position to pick out redundancies, overly long exposition and detail, lack of context, “talking heads”, lack of action or tension, and confusing or awkward sentences. The other thing you gain with distance is the ability to describe your book’s theme and major plot. What is it really about? You need to reach the point where you can describe it in a couple of sentences or even a few words as you would describe a movie you like to a curious friend who hasn’t seen it yet.

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Carbon cushion fungus spalting maple log (photo by Nina Munteanu)

Once you’ve gained some objectivity, you can critique each scene and each character for his or her plot purpose within that central plot and theme. You can also assess each sub-plot’s role within the major plot and theme. When every paragraph within every scene within every chapter of your story scintillates with purpose and meaning, you have accomplished your task of removing the boring bits. Now you have a story that is finished.

Art is self-expression and expression is a reflection of the culture and time in which you live. Stories are a snapshot of time and place. Treat your art like life; some revision is good but at some point you need to just LIVE. Let go of your work and move on to the next chapter.

 

Nina MunteanuNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.