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.

Limestone Genre Expo—May 2018

Kingston waterfront2 copy 22018 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.

MerchantTapHouse-Limestone2018

Merchant Tap House, Kingston

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.

Nina-MentalHealthPanel

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.

Nina-Whodunit Panel

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.

Nina-HeroPanel-LIMESTONE 2018

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.

Nina-signingLastSummoner

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.

Nina-Agnes-LIMESTONE

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.

 

Sensual Writing and Why I Love the Smell of Smoke

person street fogLast week, as I was driving along a winding country road on my way to Bridgewater from Lunenburg, I ran across the smoke of a small fire. They were obviously doing some roadside spring clearing.

Without thinking, I slid the window open and inhaled deeply. I was preparing to experience the exquisite “taste of home”. As I breathed in the aroma of burning vegetation, memories of outdoor campfires and old wood-burning stoves flooded in from my childhood. A goofy smile slid across my face as I bathed in the joyful innocence of adventure, wonder and the comfort of the hearth. I’d had a wonderful childhood and the smell of smoke brought it back to me in its full glory.

What does this have to do with sensual writing? Everything. Storytelling shares universal truth through metaphor, delivered from the heart. Sensual writing doesn’t just involve making sure to include at least a few senses like sight, sound, smell, taste and touch in your narrative. To write sensually involves much more than the simple description of a sense, though this is certainly the first step (and something all too often neglected by novice writers). To not connect a described sense to a memory or emotion is to miss a very important opportunity as a storyteller: that of enlightening the reader on some aspect of the POV character experiencing the sense (things like their history, the quality and nature of their relationships, their viewpoints, education, prejudices, how and what they’ve experienced in their life).

Here’s what I mean:

EXAMPLE 1: Ben walked into the Grand Banker Pub and immediately caught the tantalizing aroma of garlic and pears amid the din of jubilant laughter, cackles and desultory conversation. The amber light enhanced the rich tones of nautical oak. Ben saw some friends drinking in the corner and sauntered toward them, smiling.

EXAMPLE 2: Ben stopped at the door of the Grand Banker Pub, inhaling the exquisite aroma of garlic and pears amid the din of jubilant laughter, cackles and desultory conversation. For a moment he was back on the boat, reliving the party that changed his life. He’d stopped eating pears after that. Ben caught sight of his friends drinking in the corner, beneath the amber light. Like a sailor seizing a rope, he sauntered toward them, a huge smile pasted on his face.

The first example describes; the second example emotes. The first example nicely describes the place but it doesn’t provide us with any information about Ben, except that he likes the aroma of garlic and pears. We don’t know why. In the second example, his senses are used to hint at intrigue linked to memories that, in turn, are linked to the associated sense—in this case the smell of garlic and pears. This is the power of sensual writing. Bringing it back home.

 

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.

The Gestalt Nature of Passion & Success

What is to give light must endure burning —Victor Frankl

 

big old tree“Any writing lays the writer open to judgment about the quality of his work and thought,” writes Ralph Keyes, author of The Courage to Write. “The closer [the writer] gets to painful personal truths, the more fear mounts—not just about what he might reveal, but about what he might discover should he venture too deeply inside. But to write well, that’s exactly where we must venture.”

So, why do it, then? Why bother? Is it worth it to make yourself totally vulnerable to the possible censure and ridicule of your peers, friends, and relatives? To serve up your heart on a platter to just have them drag it around as Stevie Nicks would say?…

Welcome to the threshold of your career as a writer. This is where many aspiring writers stop: in abject fear, not just of failure but of success. The only difference between those that don’t and those that do, is that the former come to terms with their fears, in fact learn to use them as a barometer to what is important.

“Everyone is afraid to write,” says Keyes. “They should be. Writing is dangerous…To love writing, fear writing and pray for the courage to write is no contradiction. It’s the essence of what we do.”

Unravelling the Secret…

How do you get past the fear of being exposed, past the anticipated disappointment of peers, past the terror of success?

The answer is passion. If you are writing about something you are passionate about, you will find the courage to see it through. “The more I read, and write,” says Keyes:

The more convinced I am that the best writing flows less from acquired skill than conviction expressed with courage. By this I don’t mean moral convictions, but the sense that what one has to say is something others need to know.—Ralph Keyes

This is ultimately what drives a writer to not just write but to publish: the need to share one’s story, over and over again. To prevail, persist, and ultimately succeed, a writer must have conviction and believe in his or her writing. You must believe that you have something to say that others want to read. Ask yourself why you are a writer. Your answer might surprise you.

Every writer is an artist. And every artist is a cultural reporter. One who sometimes holds the world accountable. “Real art,” says Susan Sontag, “makes us nervous.”

The first step, then, is to acknowledge your passion and own it. Flaunt it, even. Find your conviction, define what matters and explore it to the fullest. You will find that such an acknowledgement will give you the strength and fortitude to persist and persevere, particularly in the face of those fears. Use the fears to guide you into that journey of personal truths. Frederick Busch described it this way: “You go to dark places so that you can get there, steal the trophy and get out.”

John Steinbeck, author of Grapes of Wrath, said:

If there is a magic in story writing, and I am convinced that there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader.—John Steinbeck

Finding Success Through Meaning

Victor Frankl survived Auschwitz to become an important neurologist and psychiatrist of our time and to write Man’s Search for Meaning.

Blogger Gavin Ortlund wrote: “What gripped me most about [Frankl’s] book, and has stayed with me to this day, is not the horror and barbarity of his experiences in concentration camps—when you pick up a book about the holocaust, you expect that. What really struck me was Frankl’s repeated insistence that even there, in the most inhumane and horrific conditions imaginable, the greatest struggle is not mere survival. The greatest struggle is finding meaning. As I was reading, I was struck with this thought: going to a concentration camp is not the worst thing that can happen to a person. The worst that can happen to a person is not having a transcendent reason to live. Life is about more than finding comfort and avoiding suffering: it’s about finding what is ultimate, whatever the cost.”

Victor Frankl wisely said:

The more you aim at success and make it a target, the more you are going to miss it. Success, like happiness, cannot be pursued; it must ensue, and it only does so as the unintended side effect of one’s personal dedication to a cause greater than oneself or as the by-product of one’s surrender to a person other than oneself. Happiness must happen, and the same holds for success: you have to let it happen by not caring about it. I want you to listen to what your conscience commands you to do and go on to carry it out to the best of your knowledge. Then you will live to see that in the long-run—in the long-run, I say!—success will follow you precisely because you had forgotten to think about it.—Victor Frankl

Frankl is talking about passion. “If you long to excel as a writer,” says Margot Finke, author of How to Keep Your Passion and Survive as a Writer, “treasure the passion that is unique within yourself. Take the irreplaceable elements of your life and craft them into your own personal contribution to the world.” It’s what has you up to 2 am, pounding the keys. It follows you down the street and to work with thoughts of another world. It puts a notebook and pen in your hand as you drive to the store, ready to record thoughts about a character, scene or place. “For the passionate, writing is not a choice; it’s a force that cannot be denied.”

big old treeFinke says it astutely: You need to be passionate about everything to do with your book—the writing and rewriting, your critique group, your research, your search for the best agent/editor, plus your query letter. Not to mention the passion that goes into promoting your book. Nothing less will assure your survival—and success—as a writer.

Follow your inner moonlight, don’t hide the madness—Allen Ginsberg, American poet

This article is an excerpt from The Fiction Writer: Get Published, Write Now! by Nina Munteanu

References:

Finke, Margot. 2008. “How to Keep Your Passion and Survive as a Writer.” In: The Purple Crayonhttp://www.underdown.org/mf_ writing_passion

Frankl, Victor. (1946) 1997. Man’s Search for Meaning. Pocket Books. 224 pp.

Keyes, Ralph. 1999. The Writer’s Guide to Creativity. Writer’s Digest, 1999.

Munteanu, Nina. 2009. The Fiction Writer: Get Published, Write Now. Starfire World Syndicate. 294pp

Ortlund, Gavin. 2008. “Frankl, the holocaust and meaning.” In: Let Us Hold Fast. http://gro1983.blogspot.com/2008/02/frankl-holocaust-and-meaning.html

Slonim Aronie, Nancy. 1998. Writing from the Heart: Tapping the Power of Your Inner Voice. Hyperion. 256pp.

 

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.

 

Write About What You Know

Beauty Creek, Jasper National Park, Alberta, CanadaHow many times have you been told to write about what you know? And how many times have you trusted that advice? Well, how interesting is that?!? We think our lives are dull, boring, and mundane. We write – and read – to get away from it, don’t we?

Well, yes…and no…

In the final analysis, even good “escapist” writing, like some science fiction, despite its alien settings and creatures of imagination, is grounded in the realities of our every-day lives, which form the basis of human nature. Love, ambition, trust, hate, envy, honor, courage. All these are universal human traits which the writer taps into and ultimately writes about.

“In the 19th century, John Keats wrote to a nightingale, an urn, a season. Simple, everyday things that he knew,” say Kim Addonizio and Dorianne Laux in The Writer’s Guide to Creativity. “Walt Whitman described the stars, a live oak, a field. They began with what they knew, what was at hand, what shimmered around them in the ordinary world.”

The advice, “write what you know” isn’t about literal truths; it’s about what you know inside. As SF author Marg Gilks says, “You know more than you think.”

Twisted Truths & Inner Knowledge

In an article in Writing World, Gilks discusses how a writer can use her own knowledge and experiences in everyday life and translate them into something far from ordinary. You start with universal experiences.

Get Emotional

What excites you; what frightens you; what angers you, makes you sad, happy. These are emotions we all feel. When we give our characters experiences similar to our own, we breathe life into both character and experience and provide the reader an anchor for her heart.

Get Sensational

You know how it feels when the sun shines on your face or the rain drenches you. You know how it feels to have your knees shake with fatigue after a long climb on a hot day or the invigorating freshness of a cool lake in summer.

Get People Around You

My neighbor has a funny way of focusing his gaze slightly off me when he talks, like he can’t look me directly in the eyes. When he approaches my house to deliver the paper, Dennis strides with a lilting gait as he listens to hip-hop on his ipod.

Drawing from what you observe and know of the people around you is one of a writer’s most treasured resources for character description. I always carry a notebook with me no matter where I go, even if it’s only to the grocery store.

The Magic of Storytelling

A writer is like a magician. You play upon what readers all “know” then surprise them with the unexpected.

Unleashing your imagination and letting it soar while grounding yourself in the realities of universal truths is the stuff of which stories are made. This is what most of us mean when we say “write what you know.”

“Unless you are writing about a personal tragedy,” says Tina Morgan of Fiction Factor, “you will have to use your imagination. Use the creativity that drives you to write in the first place. Take those feelings you have every day and amplify them. Make them more intense, more vivid. Before you know it, you will be ‘writing what you know’.”

“Next time you hear ‘write what you know,’ ” says Gilks, “you’ll realize that you know an awful lot about what matters most in a story’s success. It’s waiting only to be shaped by your imagination.”

Write Real

Literary Agent, Rachelle Gardner, provided a great definition of “write what you know” on her blog. Here’s an excerpt:

Most people think “write what you know” means you have to put characters in situations you’re personally familiar with. If you’re a mom with five kids, you should write a mom story. If you’ve fought cancer and won, you should write about that. But in my opinion, that’s not what it means.

Write what you know means write with authenticity about thoughts, feelings, experiences of life. Be honest. Write from a deep place. Don’t write from the surface. Whether you’re writing about parenthood or cancer or anything else… be real.

Don’t reflect what you know from other people or the media… write what you know from your own inner life.

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.

 

On Conducting Interviews…

interviewingBeing a Smart Reporter

Whether you’re writing non-fiction or fiction, at some point in your research you may need to conduct an interview. It might be a local police officer who handled a case similar to something you are writing about; it might be a scientist in the university who has critical information on something covered in your story; it might be a friend who has experienced something you wish to get first-hand knowledge of for one of your characters. Either way, you need to conduct your interview professionally, efficiently and with sufficient thoroughness and accuracy to get what you need.

In other words, you need to be a good journalist.

Pillars of Good Journalism

The pillars of good journalism include: 1) thoroughness; 2) accuracy; 3) fairness; and 4) transparency.

These days, thoroughness means more than exhausting your resources, real or virtual. It also includes getting input from your readers, says Robin Good, online publisher and new media communication expert.

Likewise, says Good, being accurate may include saying what you don’t know and being open to input from your readership; this invites dialogue between you and your respected reader. The key, of course, is respect.

Which brings us to fairness: this includes listening to different viewpoints and incorporating them into your journalism. Fairness, says Good, is about letting people respond and listening to them, particularly if they disagree with you. Both learn from the experience.

And, lastly, part of being transparent is revealing and making accessible to your readers your source material.

Things to Consider When Doing That Interview

As a writer it’s guaranteed that you will at some time require information from a real person. Depending on the nature of your research and its intended destination and audience, you may wish to conduct anything from a casual phone or email enquiry to a full-blown formal face-to-face interview. This will also depend on who you are interviewing, from a neighbor to a government official.

In an article in Writer’s Digest, Joy Lanzendorfer suggests that you adopt the following tactics to get your interview further than the basics and to fully take advantage of your source (oh, I didn’t mean it that way!):

  • Do your research ahead of time: read up on your subject and include both sides of an issue (if that’s relevant). This helps you to respond intelligently with better follow-up questions.
  • Ask open-ended questions: avoid yes and no questions and get them to elaborate. Asking “why” solicits explanation, which will give your article depth.
  • Ask for examples: this provides a personal aspect to the article that gives it warmth and makes it more interesting.
  • Ask personal questions: what’s the worst thing that can happen? They can simply say “no”; the up side is you may get a gem. The personal angle from the interviewee’s perspective gives your article some potential emotional aspect that gives it human-interest.
  • Ask the interviewee for any further thoughts to share: it’s an innocuous question, but can offer-up more gems. What it provides you with is the possibility of getting something you might not have thought of, sparked by your conversation.

Don’t be afraid to confirm names, places or any facts your interviewee brings up. This will inspire confidence in them about the thoroughness and accuracy in your reporting.

What NOT to Say…

In an article in Writer’s Digest, Nancie Hudson gives the following excellent advice about what you should never say to a source:

  • “There’s no rush.”—never reveal your deadline. Think about it; what do you normally do when there’s a deadline? Right … If you’re going to share a deadline, say it’s sooner than it really is.
  • “I’ve never covered this topic before.”—this kind of information is inappropriate and may make your interviewee uncomfortable (and worried about your unproven abilities to properly interview her instead of focusing on herself and what you’re interviewing her about). Besides, it’s not what you know but what you learn that counts.
  • “I’ll be using what you say extensively.”—don’t assume and make promises you may not be able to keep, until after the interview.
  • “I don’t get it.”—if you don’t understand something, get clarification rather than making a negative remark that tends to stop them dead in their tracks.
  • “you can review the piece before it’s published.”—this is something that can be dealt with over the phone to confirm facts; the source doesn’t need to see the whole piece before it’s published.
  • “This is going to be a fantastic article!”—keep your tone professional; there’s nothing wrong with being positive, but you should maintain a professional attitude that inspires confidence in the interviewee rather than giddy wild energy. 

 

References

Good, Robin. “The Pillars of Good Journalism”. In: Master New Media:  http://www.masternewmedia.org/news/2005/01/29/the_pillars_of_good_journalism.htm

petals in the forestHudson, Nancie. 2007. “6 Things You Should Never Say to a Source”. In: Writer’s Digest. April, 2007.

Lanzendorfer, Joy. 2008. “Interview Tactics”. In: Writer’s Digest. February, 2008.

Munteanu, Nina. 2009. “The Fiction Writer: Get Published, Write Now!” Starfire World Syndicate. Chapter “I”.

 

 

 

 

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.

 

Fiction Writer on Recommended Reads

FictionWriter-front cover-2nd edWriter Timea Noemi selected The Fiction Writer by Nina Munteanu along with the works of Angela Ackerman and Katie Weiland as her Top books on How to Write.

“[The Fiction Writer]is the most practical book on publishing that I’ve ever read, and I’ve read them all! Not only is each chapter packed with advice for writers at every level of the publishing process, but the text is highly readable and even entertaining. The clear format, the direct style and the playful layout keep the large volume of information from ever becoming dry or boring.”–Lucia Gorea, English Instructor, University of Vancouver

FictionWriter-No1-tweet

scriitorul_de_fictiune_Munteanu_coperta1Timea Noemi also recommended the Romanian translated version of “The Fiction Writer: Get Published, Write Now!” (“Manual de Scriere Creativa. Scriitorul de fictiune”) by Nina Munteanu along with “The Emotion Thesaurus” by Angela Ackerman and the Hungarian “How to Write a Book” by Krisz Nadasi.

Of “the Fiction Writer” Timea said:

“Eu mutumesc enorm! Cartea aceasta ma invatat atat de multe lucruri este bibia mea de scriitor. Din pacate nu prea se gasesc carti despre scriere creative in tara si m-am bucurat tare mult sa gasesc aceasta carte.” (Thank you so much! This book taught me so many things; it is my writer’s Bible. Unfortunately, there are no books on creative writing in the country, and I enjoyed finding this book.)

FictionWriter Tesimonial-Romanian

editura-paralela-45-scriere creativa.Cu plecere, Timi!

In fact, I knew this (that writing guides were lacking in Romania, a country full of writers!) and so did my Romanian publisher Calin Vlasie of Editura Paralela 45. This is why Editura Paralela 45 translated and published a Romanian version of The Fiction Writer. It so gladdens me to hear that this book on writing is making its way around the country.

Gaudeamus-LaunchMy father is originally from Romania and grew up in Bucharest.  So, I was delighted to attend the launch of Manual de Scriere Creativa. Scriitorul de fictiune (The Fiction Writer) in Bucharest in 2011, hosted by Editura Paralela 45 in the Gaudeamus Book Fair. It was a wonderful experience, which included drinking copious amounts of Romania’s national drink Tuica (plum liquor that packs a punch!) with my publisher. You can find out more about my adventure in Bucharest on my good friend’s site, Toulouse On the Loose.

Canadians can purchase “The Fiction Writer” at a very decent price right now from Chapters / Indigo. The Fiction Writer is the first book of The Alien Guidebook Series, which includes The Journal Writer: Finding Your Voice (for journalling and memoir writing) and upcoming The Ecology of Story: World as Character (on setting, place and world building–scheduled release Summer 2019).

 

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.