The Careful Writer: When To Use Passive or Active Verbs

painted leavesOne of the most common pieces of advice I give to students of writing in coaching sessions and my classes at UofT (technical and non-fiction writing) and George Brown College (fiction writing) is that active verbs most often work better than passive verbs.

 

Active Verbs Clarify by Identifying Agent

The use of active verbs avoid confusion because they clearly identify the subject (the doer). For instance, consider these two versions:

ACTIVE: Alice walked the dog.

PASSIVE: The dog was walked.

The active sentence clearly identifies Alice as the one walking the dog; the passive sentence does not provide agency (Alice). We don’t know who walked the dog. When we use active verbs we always know the agent (of change); not so with passive. However, if we modify the passive sentence with “by”, then agency is provided:

PASSIVE (with agency): The dog was walked by Alice.

But the sentence no longer flows easily. This is because the typical subject-verb-object (SVO) flow that we are used to in the English language has changed to object-verb-subject (OVS). If you speak Native Brazilian Hixkaryana, you might be OK with that, given they organize their sentences this way. But that is not how we think and read. Here’s another example:

PASSIVE: The report was written by Ahmed, and it was found to be excellent

ACTIVE: Ahmed wrote the report and it was excellent.

ACTIVE BETTER: Ahmed wrote an excellent report.

 

Active Verbs Clarify and Empower by Reducing Need for Modifiers

Another reason to use active verbs is that a writer depends less on modifiers to prop up a weak verb, which passive verbs tend to be. For instance, which version is more compelling and easy to take in?

  1. Jill was walking quickly into the room.

  2. Jill rushed into the room.

The example below that I explore in my book The Fiction Writer: Get Published, Write Now! shows how the use of active and powerful verbs adds vividness and clarity to a scene.

PASSIVE

ACTIVE

„ Joe walked slowly into the room.

 

„ Joe sidled into the room.

 

„ The naked couple were in the bed almost buried under the rumpled covers. They were now struggling to get up.

 

„ The naked couple struggled out from the rumple of clothes and blankets.

 

„ Joe saw the big man sit up and stare at him angrily.

 

„ The man reared up and glared at Joe.

 

TOTAL WORDS: 38 TOTAL WORDS: 25

TheFictionWriter-NMNotice how the use of active verbs also unclutters sentences and makes them more succinct and accurate. This was achieved not only by choosing active verbs but power-verbs that more accurately portray the mood and feel of the action. Most of the verbs used in the Passive column are weak and can be interpreted in many ways; words such as “walk” “were” “sit” and “stare”; each of these verbs begs the question ‘how’, hence the inevitable adverb. So we end up with “walk slowly” “were now struggling” “sit up” and “stare angrily.” When activated with power-verbs, we end up with “sidle” “struggled” “rear up” and “glared”—all more succinctly and accurately conveying a mood and feeling behind the action.

 

When Passive Verbs Clarify…

In Chapter 17 of their book The Craft of Research (University of Chicago Press) Wayne C. Booth and colleagues stress that mindlessly adhering to the tacit rule to choose active verbs over passive verbs can in fact cloud a sentence. They suggest asking a simpler question: do your sentences begin with familiar information, preferably a main character? “If you put familiar characters in your subjects, you will use the active and passive properly,” they say.

It’s all about context.

Booth et al. provide two passages and ask you to choose which “flows” more easily:

  1. The quality of our air and even the climate of the world depend on healthy rain forests in Asia, Africa, and South America. But the increasing demand for more land for agricultural use and for wood products for construction worldwide now threatens these rain forests with destruction.

  2. The quality of our air and even the climate of the world depend on healthy rain forests in Asia, Africa, and South America. But these rain forests are now threatened with destruction by the increasing demand for more land for agricultural use and for wood products used in construction worldwide.

Most readers will find that 2. flows more easily. This is because the beginning of the second sentence picks up on the “character” (the rain forest) introduced at the end of the first sentence (…the rain forests in Asia, Africa, and South America. But these rain forests…). In the active verb version of 1. the second sentence starts with new information unconnected to the first sentence. The sentences don’t flow into each other as well.

The passive version (2.) permitted the reader to continue with the familiar “character” right away. This, argue Booth et al., is the main function of the passive: to build sentences that begin with older information. The other reason version 2. works better is that the second sentence opens with something short, simple and easy to read: These rain forests are now threatened. In the active version 1. the second sentence opens with something long and complex. The key to clarity is to start simple (and strong, with a “character”) and end with complexity; this way, you set up the reader to better understand by starting with familiar/simple and moving to new/complex.

In engineering and the sciences where I teach at UofT, teachers still demand the use of passive verbs, believing that this makes the writing more objective. This advice is often equally misleading. Booth again provide two passages to show this:

  1. Eye movements were measured at tenth-of-second intervals.

  2. We measured eye movements at tenth-of-second intervals.

In fact, both sentences are equally objective; however, their stories differ. Version 1. ignores the person doing the measuring and focuses on the measurement. Avoiding “we” or “I” doesn’t make it more objective; it does, however shift the focus of the narrative. There is another explanation for using the passive version of 1. vs. the active 2. When a scientist uses the passive to describe a process, she implies that the process can be repeated by anyone—much like providing a recipe that anyone can follow.

Consider the following two passages:

  1. It can be concluded that the fluctuations result from the Burnes effect.

  2. We conclude that the fluctuations result from the Burnes effect.

The active verb in 2. conclude and we as subject refers to actions that only the writer / researcher can perform. In other words, they are taking responsibility for that conclusion. Anyone can measure; only the author / researcher can claim what their research means.

The lesson here is that there is no one magic stick for sentence structure and active vs. passive verb use. Reader-ease and clarity depends on context and a natural flow of ideas.

 

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

Nina Munteanu Talks About Writing and Audiobooks

AudiobookPromotions

In a recent interview with Jess at Audiobookworm Promotions, I talked about the process of turning The Splintered Universe Trilogy into three audiobooks and the process of writing in general:

 

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Nina Munteanu

Tell us about the process of turning your book into an audiobook.

The process was magical for me. It was professional and proceeded at a pace that felt productive. All of this was mainly because of the professional relationship I had with the narrator. From audition to each step of quality assurance in ensuring character voice, pronunciations, mood, tempo, etc. the narrator and I were in good communication. The final product shows. I can’t recall how long it took for each audiobook to be created, but it didn’t feel long.

 

How did you select your narrator?

Dawn Harvey2

Dawn Harvey

Dawn Harvey auditioned for my first book along with two other narrators through the audiobook publisher, Iambik. I picked Dawn because her voice resonated with my idea of my main character, Rhea Hawke, a cynical badass detective on a mission to save the world–a world she doesn’t understand. Dawn’s voice carried attitude and sarcasm as well as compassion and kindness. It was exactly what I was looking for in my paradoxical character. Given that the book is told in the first person, the main character voice was critical. Dawn just nailed it. When the second and third books came out, I just HAD to have Dawn do them too—not just for consistency, but because in my mind, Dawn WAS Rhea.

 

How closely did you work with your narrator before and during the recording process? Did you give them any pronunciation tips or special insight into the characters?

We worked closely and well. Dawn took the driver’s seat in it. She was very professional. She sent me sections of audio to check for tone, voice, etc. She created a list of voices (I had at least twenty different alien species she needed to create unique voices for—one with multiple mouths! And another was a kind of “amoeba”—her voices were splendid!) and a list of terms with her pronunciations for me to vet. She had also asked for more information on the characters, which I was able to provide, given I keep a character dossier on all characters I create.

You can listen to samples of her narration of the three audiobooks below:

audible listen

 

Are you an audiobook listener? What about the audiobook format appeals to you?

OuterDiverse-web-1 copyI like to listen to audiobooks in the car, especially when I’m on a long trip. I find it a wonderful way to enjoy a book. It’s very relaxing. When my best friend and I used to do road trips down to California from Vancouver, we took turns reading a novel or nonfiction book out loud as the other drove. It was lots of fun. With audiobooks I can do the same even when I’m the only one in the car!

 

What gets you out of a writing slump? What about a reading slump?

EcologyOfStoryIf I’m in a slump, it’s usually because I can’t figure something out—usually some plot point or character quirk or backstory. What helps me is to put the book I’m working on away and do something else. I know that what I need will come; I just have to let it come on its own terms. The break could even be writing something else, so long as it isn’t my book. Or I could do something else on the book such as edit a certain section or research some element. Other ways I coax my muse back are walks in Nature, reading a good book, visiting the library or a bookstore and cycling. These work really well to take me out of the book and into the muse. When I take my mind out of the direct involvement with the book, I’m letting things outside of me impact me with insight. Invariably that is what happens. I’ll see something or experience something that provides me with a clue or even an epiphany.

 

What advice would you give to aspiring authors?

InnerDiverse-web copyLearn your “voice” and how it’s unique from anyone else. Write from the heart, write something that means something to you, and keep writing. Success in writing results from a passion to share. If you infuse your writing with passion, everything else comes with it: the patience and determination to learn craft, marketing, and the persistence in your pursuit.

 

Do you have any tips for authors going through the process of turning their books into audiobooks?

Know what you’re looking for to represent the “voice” of your book. Know the narrative voice you want for your book and don’t compromise on it. Work respectfully with your narrator: if they are good, they will turn your cherished book into something more than it was. Let it surprise you and delight you. Together, you and your narrator will become more than the sum of the parts. Enjoy the process and don’t rush it.

 

What’s next for you?

MetaverseAUDIO-FINAL2-webI recently finished my latest novel, A Diary in the Age of Water, which was picked up by Inanna Publications in Toronto and will be out in 2020. I recently launched the third book in my “Alien Guidebook” series of writing guides. This one is called The Ecology of Story: World as Character and I’ve had lots of fun with it!

I’m currently at the idea-premise phase of a feature short story commissioned by a magazine in Vancouver. The story, which may involve a branch of ecology called soundscape ecology, explores a world we hope to live in and how we might get there.

 

 

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

Word Is Wild Literary Festival in Ontario’s Near North

WordIsWild Festival-presentersB

presenters Nina Munteanu, Merridy Cox, Sharon Berg, Albert Saxby, Carol Williams, Dallas Ray Bader, and Honey Novick

WriterFestival posterI was recently invited by organizer and poet Kathy Figueroa to participate in The Word Is Wild Literary Festival III in Cardiff in Ontario’s northern community. I joined poet and author Sharon Berg from Sarnia, poet and vocalist Honey Novick and poet naturalist Merridy Cox from Toronto, singer / songwriter Albert Saxby from Essenville and other locals for a day of readings, musings, and singing.

I’d not yet ventured to this northern part of Ontario, so I was excited to drive there. I caught a ride with Merridy and Honey and the three of us took turns driving north from Toronto into the rolling hills that blazed in a chaos of fall colour. Dominated by the bright orange of the Sugar Maple, the hills formed a rolling carpet of coppers, yellows, reds and greens of American Beech, Yellow Birch, Red Maple, Eastern Hemlock and White Pine.

Northern Ontario colour

Cardiff is a tiny village-suburb of Highlands East, and is a former mining community. The township is located between Haliburton and the old mining town of Bancroft to the north. Bancroft was purchased from the Chippewa and Mississauga First Nations in the 1850s by Irish and English settlers who logged and mined the area for gold and other minerals.

fall colour northern ontario

Not far north of Bancroft, Algonquin Park—a provincial park that spans over 7500 km2 between Georgian Bay and the Ottawa River—beckons. Established in 1893—making it the oldest provincial park in Canada—Algonquin Park was frequented by several artists of The Group of Seven, including Tom Thomson. His oil painting entitled The Jack Pine remains an iconic representation of Canada’s most broadly distributed pine species and well-represents this area’s landscape.

The_Jack_Pine,_by_Tom_Thomson

oil painting “The Jack Pine” by Tom Thomson

The three of us settled at the Cardiff House Writers’ Retreat, located right in the middle of Cardiff, then proceeded to the community centre where the festival was held.

 

Nina WaterIs

Nina Munteanu

I shared how I came to write my latest book, “A Diary in the Age of Water,” coming out in 2020 with Inanna Publications. You can read about it in my post “On Writing ‘A Diary in the Age of Water’ ” I mentioned how it started with a talk by Maude Barlow in a church on Bloor Street in Toronto, which led to a short story, to my non-fiction book “Water Is…” and finally to the novel.

The festival is hosted by Cardiff House Writers’ Retreat along with sponsorship by The League of Canadian Poets & Canada Council Poetry Tours, The Writers’ Union of Canada, and the National Public Reading Program. I hope to return next year. I think I will go for a longer time and explore this spectacular countryside and provincial park.

highlands east haliburton2

Haliburton County

 

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

International Writers’ Festival at Val David

ValDavid-group inside1

International Writers’ Festival & Retreat with Flavia Cosma, Val David

In the middle of June 2019, I drove to Val David, Quebec, with poet-songstress and friend Honey Novick. We had been invited to participate in Les Mots du Monde, the nineteenth international writers’ and artists’ festival of readings, songs, and discussions. The location was the residence of international poet Flavia Cosma. Cosma has been hosting the writer’s event for close to a decade in her large house in the forest just outside the resort town of Val David in the Laurentians.

The program spanned two days of lecture, readings, performance and art by artists and writers from Argentina, Romania, Mexico, USA, Laval, Montreal, and Toronto.

Festival-group outside

International Festival among the trees

Poets, writers, musicians and artists included Honey Novick, Hélène Dorion, Tito Alvarado, Dinorah Gutiérrez Andana, Flavia Cosma, Gerette Buglion, Yvan-Denis Dupuis, EcologyOfStoryJeremiah Wall, Nina Munteanu, Nancy R. Lange, Nicole Davidson, Carmen Doreal, MarieAnnie Soleil, Luis Raúl Calvo, Louis-Philippe Hébert, Melania Rusu Caragioiu, Anna-Louise Fontaine.

I talked about my experience and process of writing my upcoming speculative novel “A Diary in the Age of Water”, coming out in 2020 with Inanna Publications. The novel chronicles four generations of women and their relationship with water during a time of extreme change.

I also shared examples of my recently launched writing guidebook “The Ecology of Story: World as Character” (Pixl Press). The 3rd guidebook in my Alien Guidebook Series, “Ecology of Story” focuses on place and environment and how these form the heart of a good story.

Throughout the festival, we were treated to magnificent ethnic food and refreshments. Interesting discussions on the international literary scene over wine and desert followed.

lunch 2

Lunch at Flavia’s

I shared good conversation with fellow poet and water advocate Nancy R. Lange. She had given a compelling presentation on her recent book “Les Cantiques de l’eau” (Marcel Broquet) and knew about my book “Water Is: The Meaning of Water” (Pixl Press). Of course, the best thing to do was exchange books—which we did. Nancy is the literary ambassador for the Eau Secours organization and has promoted responsible water stewardship through her writing and presentations for many years.

Microsoft Word - WaterBooks.docx

“It is not the cliff that shapes the ocean. It is the ocean that shapes the cliff. Fluidity is always the greater force than rigidity.”—Nancy R. Lange

 

On the final day, the writers and artists put on a public performance at the Val David Centre d’Exposition.

C'est La Vie Cafe

C’est la Vie Cafe, Val David

Val David

Val David is a small resort town located in the Laurentian Mountains about 80 kilometers from Montreal, Quebec. The village is known for its food scene and its artistic character. When I was there, I sampled the local cafes and experienced the street market, which offered a diversity of locally made and sourced produce and crafts.

 

 

 

 

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

 

“Ecology of Story: World as Character” Workshop at When Words Collide, Calgary

EcologyOfStoryI recently gave a 2-hour workshop on “ecology of story” at Calgary’s When Words Collide writing festival in August, 2019.

The workshop—based on my third writing guidebook: “The Ecology of Story: World as Character”explored some of the major relationships in functional ecosystems and how to effectively incorporate them in story. We  briefly explored how ecosystems and ecological processes work and looked at several of the more bizarre examples of ecological adaptation.

I showed how treating world and place as character provides depth and meaning to story through its integration with plot, theme, and other characters. We looked at these story components as integral to help ground the reader in context and meaning of story. We explored place / setting as metaphor, symbol, archetype, and allegory.

Through literary examples of setting and place, we looked at how readers are drawn into story through metaphor, sensual description, and thematic integration through POV character.

Nina and flipchart2

Reviewing the story we created through an exercise

Then came the story-building part of the workshop—a snappy, fast-paced dialogue among all workshop participants. Using the book’s cover image as story-prompt, we worked through the story components of premise, theme, character, plot and setting. Following a lively discussion, we succeeded in creating a stunning first crack at a story that was both original and intriguing. And at whose heart was a strong sense of place and identity.

creating a story

“The Ecology of Story” had only recently been launched at Type Books in Toronto and saw its first use at the Calgary When Words Collide conference. Books were sold out an hour after the workshop.

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“The Ecology of Story” recently achieved Amazon Bestseller status in the Ecology category.

EcologyOfStory-AmazonBestseller-Ecology

 

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Nina starts her “The Ecology of Story” workshop with Part 1: ecology

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Nina talks about some interesting adaptations in reproduction

nina-2014aaaNina is a Canadian scientist and novelist. She worked for 25 years as an environmental consultant in the field of aquatic ecology and limnology, publishing papers and technical reports on water quality and impacts to aquatic systems. Nina has written over a dozen eco-fiction, science fiction and fantasy novels. An award-winning short story writer, and essayist, Nina currently lives in Toronto where she teaches writing at the University of Toronto and George Brown College. Her non-fiction book “Water Is…”—a scientific study and personal journey as limnologist, mother, teacher and environmentalist—was picked by Margaret Atwood in the New York Times as 2016 ‘The Year in Reading’. Nina’s most recent novel “A Diary in the Age of Water”— about four generations of women and their relationship to water in a rapidly changing world—will be released in 2020 by Inanna Publications.

Cathedral Grove

Cathedral Grove, Vancouver Island, BC

 

One-Day Writing Intensive in Georgian Bay

On June 22, 2019, I joined Honey Novick and Cheryl Antao-Xavier as presenters of a one-day writing intensive at Noël’s Nest Country Bed & Breakfast near Port McNicoll.

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writing group at Noel’s Nest

A small group of dedicated writers joined the intensive and we explored topics to do with writing, manuscript preparation and submission, as well as publishing models. This included meaningful discussions and writing exercises, readings and sharing.

writers writing2I talked about the importance of theme to help determine a story’s beginning and ending. We also discussed the use of theme in memoir to help focus the memoir into a meaningful story with a directed narrative. I discussed the use of the hero’s journey plot approach and its associated archetypes to help determine relevance of events, characters and place: all topics explored in my Alien’s Guidebook series.

As part of the intensive at Noël’s Nest, a magnificent lunch was served along with refreshments. The day was sunny and warm. And perfect in the shade. We ended the intensive with a short nature walk led by naturalist Merridy Cox.

Liana-Lillian writingWhile everyone left at six, I stayed on with a friend. I’d booked the night and looked forward to a restful evening among deer, rustling trees and a chorus of birdsong. The owner had left us some leftovers for supper, and, as we dined on a smorgasbord of gourmet food and wine, I reveled in Nature’s meditative sounds. The night sky opened deep and clear with a million stars.

The next day we enjoyed exploring southern Geogrian Bay, which included the small towns of Port McNicoll, Midland and Penetanguishene. Georgian Bay is part of Lake Huron, one of the Great Lakes.

Tom_Thomson_-_Pine_Island,_Georgian_Bay

Pine Island by Tom Thompson

The bay itself is quite large, comprising about four-fifths the size of Lake Ontario. Eastern Georgian Bay, where we were exploring, is part of the southern edge of the Canadian Shield. Granite bedrock exposed by the glaciers at the end of the last ice age about 11,000 years ago, forms a rugged coastline dotted by windswept eastern white pine. The rugged beauty of the area inspired landscapes by artists of the Group of Seven.

The shores and waterways of the Georgian Bay are the traditional domain of the Anishinaabeg First Nations peoples to the north and Huron-Petun (Wyandot) to the south.

Port McNicoll-GeorgianBay2

Georgian Bay at Port McNicoll

The bay was a major Algonquian-Iroquoian trade route when Champlain, the first European to explore and map the area in 1615–1616, arrived and called it “La Mer douce” (the calm sea). Originally named Waasaagamaa by the Ojibwe, the bay was renamed Georgian Bay by Lieutenant Bayfield of a Royal Navy expedition after King George IV.

After driving through Port McNicoll, we drifted into Midland, where we enjoyed a delicious crepe at La Baie Creperie. On the recommendation of a local, we then moved on to Penetanguishene to the Dock Lunch for the best ice cream in Southern Georgian Bay.

LaBaie Creperie-Midland

La Baie Crêperie in Midland

Upon leaving, I realized that I’d only seen a small portion of the Georgian Bay area and vowed to return soon.

Group writing

Eager writers work on an exercise I’ve given them

Writing intensive June 22, 2019

 

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

 

 

“The Ecology of Story: World as Character” Launched at Type Books, Toronto

ECOLOGY_Poster-web2UofT instructor and writer Nina Munteanu launched the third book in her acclaimed “how to write” series at Type Books, Toronto, on July 4th, 2019. The launch of “The Ecology of Story: World as Character” celebrated writing and place through readings, songs and talks by local writers, poets and singers.

“The Ecology of Story” was created to address the need for writers to better acknowledge the central role of place in story and better address the interrelatedness of environment with character on a journey.

“The Ecology of Story” appears in two parts; Part 1 is dedicated to basic ecology with a focus on strange and wonderful relationships in the natural world; Part 2 integrates metaphoric connections between character and place/environment to deepen meaning in story.

 

 

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Launch at Type Books

From Habitats and Trophic Levels to Metaphor and Archetype…

The Ecology of Story” teaches the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections between setting and character in fiction. For excerpts of the book go to EcologyOfStory.

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Launch presenters

Launch at Type Books

Poet and song writer Honey Novick opened the launch with an inspirational song. Ted Nolan, Maureen Scott Harris and Nehal El-Hadi read poems and works that addressed lost rivers, particularly of Toronto. Merridy Cox discussed the science of binomials. Costi Gurgu read from his most recent work Reciparium, and Cheryl Xavier read her poem to the Banyan tree. Honey closed with another song, ending the formal part of the event.

Launch Presenters

Honey NovickHoney Novick is a poet, voice teacher, singer and songwriter. Honey is the winner of the Empowered Poet Award, CAPAC, Yamaha Classical Music Competition in Japan, among others. Honey wrote music for CBC’s Morningside and sang for Prime Minister Pierre Elliot Trudeau.

 

Ted NolanTed NolanE. Martin Nolan—is a poet, essayist, editor and voice of the trees. He teaches in the Engineering Communication Program at the University of Toronto and is a PhD Candidate in Applied Linguistics at York University. His latest work is a chapbook written in collaboration with some trees entitled: “Trees Hate Us.”

 

MaureenScottHarrisMaureen Scott Harris is a poet, essayist, and rare books cataloguer. A UofT grad in Library Science, she received the Trillium Book Award for poetry for Drowning Lessons and was the first non-Australian to be awarded the 2009 WildCare Tasmania Nature Writing Prize for her essay, “Broken Mouth: Offerings for the Don River, Toronto.”

 

Nehal El-HadiNehal El-Hadi is a writer, researcher, editor and journalist, who explores the intersections of body, technology, and space. Her writing has appeared in academic journals, literary magazines, and forthcoming in anthologies and edited collections. She is currently a visiting scholar at York University and sessional faculty at the University of Toronto.

 

MerridyCoxMerridy Cox is a naturalist, photographer, editor, indexer and poet. She is also managing editor of Lyrical Leaf Publishing. Merridy has a degree in biology and museum studies;  her poetry focuses mostly on the natural world around her; her poems and photographs are published in several literary anthologies. She has edited several books, including this one!

 

Costi GurguCosti Gurgu is a graphic designer and illustrator as well as an award-winning science fiction and fantasy novelist and short story writer who is published in anthologies and magazines throughout the world. He is a former lawyer and was art director for lifestyle and fashion magazines in Europe before moving to Canada. His latest novel—RecipeArium—was called the new new weird by Robert J. Sawyer and was nominated for an Aurora Award.

 

cheryl-xavierCheryl Antao-Xavier is an editor, interior book designer and publisher with IOWI. She has been publishing emergent writers since 2008 and continues to offer self-publishing solutions to writers and companies and organizations. She recently released her book: “Self-Publishing the Professional Way: 5 Steps from Raw Manuscript to Publishing.”

 

Launch sign outside

 

 

 

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