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

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

 

The Write and Publish Series

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

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

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

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The Writer’s Toolkit

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

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Nina gives a writing workshop in Mahone Bay, Nova Scotia

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

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

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

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

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Nina teaching a workshop in Halifax, Nova Scotia

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

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

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

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

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

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

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

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

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Nina teaching a workshop in Calgary, Alberta

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

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

Ecology of Story: Place as Character & Archetype

tree trunks coolA novelist, when portraying several characters, may often find herself painting a portrait of a place. This is place being “character.” Place functions as a catalyst, and molds the more traditional characters that animate a story. Think of any of your favorite books, particularly the epics: The Wizard of Oz, Tale of Two Cities, Doctor Zhivago, Lord of the Rings, The Odyssey, etc. In each of these books the central character is the place, which is firmly linked to its main character. How much is Frodo, for instance, an extension of his beloved Shire? They are one in the same. Just as the London of Charles Dickens spawned Scrooge.

Place ultimately portrays what lies at the heart of the story. Place as character serves as an archetype that story characters connect with and navigate in ways that depend on the theme of the story. A story’s theme is essentially the “so what part” of the story. What is at stake for the character on their journey. Theme is the backbone—the heart—of the story, driving characters to journey through time and place toward some kind of fulfillment. There is no story without theme. And there is no theme without place.

Things to consider about place as character begin with the POV character and how they interact with their environment and how they reflect their place. For instance is that interaction obvious or subtle? Is that environment constant or changing, stable or unstable, predictable, or variable? Is the place controllable or not, understandable or not? Is the relationship emotional, connected to senses such as memory?

I discuss archetypes in detail, particularly as part of the “Hero’s Journey” in Chapter J of The Fiction Writer. In summary, archetypes are ancient patterns of personality shared universally by humanity (e.g. the “mother” archetype is recognized by all cultures). When place acts as an archetype or symbol in story—particularly when linked to theme—it provides a depth of meaning that resonates through many levels for the reader. From obvious to subtle.

A subtle yet potent example of this is provided by Annie Proulx’s novel The Shipping News; Proulx uses subtle body language of her protagonist to provide a strong sense of place. The main character, Quoyle, displays a self-conscious gesture of covering his strong native chin with his hand until he leaves New York to his homeland of Newfoundland from where he is descended— a place where he can live a natural and graceful life without apology.

In Ray Bradbury’s The Martian Chronicles, Mars symbolizes a new Eden—though unimagined. Like Bradbury’s aboriginal Martians—who are mostly invisible—the planet is a mirror that reflects humanity’s best and worst. Who we are, what we are, what we bring with us and what we may become. What we inadvertently do—to others, and finally to ourselves—and how the irony of chance can change everything.

Martian ChroniclesThey came because they were afraid or unafraid, happy or unhappy. There was a reason for each man. They were coming to find something or get something, or to dig up something or bury something. They were coming with small dreams or big dreams or none at all.

The 1970 Bantam book jacket aptly calls The Martian Chronicles, “a story of familiar people and familiar passions set against incredible beauties of a new world … A skillful blending of fancy and satire, terror and tenderness, wonder and contempt.”

Written in the 1940s, The Martian Chronicles drip with a nostalgic atmosphere — shady porches with tinkling pitchers of lemonade, grandfather clocks, chintz-covered sofas. But longing for this comfortable past proves dangerous in every way to Bradbury’s characters — the golden-eyed Martians as well as the humans. Starting in the far-flung future of 1999, expedition after expedition leaves Earth to explore Mars. The chameleon-like Martians guard their mysteries well, but soon succumb to the diseases that arrive with the rockets — recapitulating the tragedies that European colonization imposed on our indigenous peoples. Colonists appear on Mars, most of them with ideas no more lofty than starting a hot-dog stand, and with no respect for the culture they are impacting and an entire people they are destroying. Bradbury weaves metaphor into the opening when the heat of a rocket ship turned an Ohio dark winter into summer:

Rocket summer. The words passed among the people in the open, airing houses. Rocket summer. The warm desert air changing the frost patterns on the windows, erasing the art work. The skis and sleds suddenly useless. The snow, falling from the cold sky upon the town, turned to a hot rain before it touched the ground.

Rocket summer. People leaned form their dripping porches and watched the reddening sky. The rocket lay on the launching field, blowing out pink clouds of fire and even heat. The rocket stood in the cold winter morning, making summer with every breath of its mighty exhausts. The rocket made climates, and summer lay for a brief moment on the land…

What unfolds is a profound and tender analysis of the quiet yet devastating power humanity can wield unawares. Bradbury paints a multi-layered tapestry of hopes and dreams through metaphor. To Bradbury everything a writer writes is metaphor. Metaphor is powerful through perspective. It makes the ordinary strange and the strange ordinary.

MemoryOfWater_Emmi ItarantaIn Emmi Itäranta’s Memory of Water—about a post-climate change world of sea level rise—water is a powerful archetype, whose secret tea masters guard with their lives:

The story tells that water has a consciousness, that it carries in its memory everything that’s ever happened in this world, from the time before humans until this moment, which draws itself in its memory even as it passes. Water understands the movements of the world; it knows when it is sought and where it is needed. Sometimes a spring or a well dries for no reason, without explanation. It’s as if the water escapes of its own will, withdrawing into the cover of the earth to look for another channel. Tea masters believe there are times when water doesn’t wish to be found because it knows it will be chained in ways that are against its nature.

ThePenelopiadWater, with its life-giving properties and other strange qualities, has been used as a powerful metaphor and archetype in many stories: from vast oceans of mystery, beauty and danger—to the relentless flow of an inland stream. Margaret Atwood’s The Penelopiad is just one example:

Water does not resist. Water flows. When you plunge your hand into it, all you feel is a caress. Water is not a solid wall, it will not stop you. But water always goes where it wants to go, and nothing in the end can stand against it. Water is patient. Dripping water wears away a stone. Remember that, my child. Remember you are half water. If you can’t go through an obstacle, go around it. Water does.

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

From Habitats and Trophic Levels to Metaphor and Archetype…

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

 

 

 

 

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

Ecology of Story: The Difference Between Anecdotes and Stories—How to Tell a Good Story

tree trunks coolIn her article in Quartz Magazine, Lila MacLellan suggests that “we’ve become masters of telling anecdotes, and terrible at telling our friends real stories.” Sometimes people think they are telling a story, but they are really just telling anecdotes, MacLellan reports after interviewing Maggie Cino, senior story producer for Moth storytelling series. While “anecdotes just relate facts,” Cino explains, stories are “about letting us know that things started one way and ended a different way.” Stories create space for movement.

Merriam-Webster defines an anecdote as a “short narrative of an interesting, amusing, or biographical incident.” Anecdotes serve to incite interest and to illustrate a point. They are often amusing, odd, sad or even tragic; if they are biographical, they often serve to reflect someone’s personality, attitude or philosophy. While anecdotes often provide a contextual jumping board to make a point—drawing you in with relevance—they lack the structure of stories. An anecdote is something that happens; a story has a structure that makes it memorable and provides a depth of meaning.

Stories move with direction; they have a beginning, middle and end. Stories evoke emotional truths. They compel with intrigue then fulfil us with awareness and, sometimes, understanding. The best stories are told through metaphor, those universal truths we all live by. And all good stories weave a premise, theme, plot, character and setting into a tapestry with meaning.

I teach new writers at the University of Toronto and George Brown College how to tell stories. I teach how stories can tell us who we are. Where we’ve been. And sometimes, where we are  going. The stories that stir our hearts come from deep inside, where the personal meets the universal, through symbols or archetypes and metaphor.

Depth psychologist Carl Jung described these shared symbols, metaphors and archetypes as pre-existing forms of the psyche. He drew parallels between synchronicity, relativity theory and quantum mechanics to describe life as an expression of a deeper order. He believed that we are both embedded in a framework of a whole and are the focus of that whole. Jung was describing a fractal whole, which reflects quantum scientist David Bohm’s quantum vision of holomovement.

Jung’s concept of embedded whole and a universal collective unconscious was embraced by Hero’s Journey author and scholar Joseph Campbell, who suggested that these mythic images lie at the depth of the unconscious where humans are no longer distinct individuals, where our minds widen and merge into the mind and memory of humankind—where we are all the same, in Unity. Carl Jung’s thesis of the “collective unconscious” in fact linked with what Freud called archaic remnants: mental forms whose presence cannot be explained by anything in the individual’s own life and which seem aboriginal, innate, and the inherited shapes of the human mind. Marie-Louise von Franz, in 1985, identified Jung’s hypothesis of the collective unconscious with the ancient idea of an all- extensive world-soul. Writer Sherry Healy suggested that Jung viewed the human mind as linked to “a body of unconscious energy that lives forever.”

What Makes a Good Story?

soft flowers copyA good story is about something important; attracted by gravity, it has purpose and seeks a destination. A good story goes somewhere; it flows like a river from one place to another. A good story has meaning; its undercurrents run deep across hidden substrates with intrigue. A good story resonates with place; it finds its way home. We’ve just touched upon the five main components of good story: premise, character on a journey & plot, theme and—what is ultimately at the heart of a story—setting or place.

Story Components

The premise of a story is like the anecdote, a starting point of interest. It is an idea that will be dramatized through plot, character and setting. In idea-driven stories, it can often be identified by asking the question: “What if?” For instance, what if time travel was possible?

A character on a journey propels the story through meaningful change. Characters provide dramatized meaning to premise through personal representation of global themes. A character takes an issue and through their actions and circumstance in story provide a fractal connection to a larger issue. Characters need to move. They need to “go somewhere.” Archetypes—ancient patterns of personality (symbols) shared by humanity and connected by our collective unconscious—are metaphoric characters (which includes place) in the universal language of storytelling that help carry the story forward.

The theme of a story takes the premise and gives it personal and metaphoric meaning by dramatizing through a character journey. It is often identified by asking the question: “What’s at stake?” In taking the time travel premise, a theme of forgiveness may be applied by choosing a character wishing to return to the past to right a wrong, when what they just need to do is forgive others and themselves, not travel to the past at all, and get on with their lives.

In such a story, the plot would provide means and obstacles for the character in their journey toward enlightenment. Plot works together with theme to challenge and push a character toward their epiphany and meaningful change. Plot provides obstacles. Challenges. Emotional turning points. Opportunities for learning and change.

The role of setting or place is often not as clear to writers. Because of this, place and setting may often be neglected and haphazardly tacked on without addressing its role in story; in such a case the story will not resonate with what is often at the heart of the story: a sense of place. In stories where the setting changes (either itself changing such as in a story about the volcanic eruption of Vesuvius impacting Pompeii’s community; or by the character’s own movements from place to place) it appears easier to include how setting affects characters. However, the effect of place on character when the setting does not change can be equally compelling even if more subtle; the change is still there but lies in the POV character’s altered relationship to that place—a reflection of change within them.

 

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

From Habitats and Trophic Levels to Metaphor and Archetype…

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

 

 

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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. A collection of Nina’s short eco-fiction can be found in “Natural Selection” by Pixl Press.  Her novel “A Diary in the Age of Water” will be released by Inanna Publications (Toronto) in 2020.

 

 

Christ-Figure in Movies & Books: Grace or Redemption?

ChildrenOfMenIn an article I’d written some time ago on my blog The Alien Next Door (“Fertility — Infertility & the Environment”, with commentary on the film “Children of Men”) I got into a rather lively discussion with a fellow blogger (Erik) about the tendency in Western Culture mythos (in literature and in movies, particularly) to portray the main character in fiction as Christ figure and the ramifications of this choice. Erik lamented the separation that has occurred between “Jesus the Teacher” and “Christ the Redeemer”. I hadn’t really given this much thought until he brought it up. But his examples (e.g., Matrix and Harry Potter) and his discourse were so compelling, I had to ponder. So, here are my ponderings.

aeon-flux-posterToday’s Christ-like hero suffers for the sins of the world and prepares himself (often struggling with this considerably) to deliver salvation, usually through fighting or violent confrontation and often with an incredible arsenal of weapons. I was swiftly brought to mind of the many action shoot-em up films whose tortured hero redeems him(her)self through some selfless, though violent action (e.g., Omega Man, V for Vendetta, Ultra Violet, Aeon Flux — all sci-fi movies, by the way, and ones I enjoyed immensely. And what about all those superhero movies, like Spiderman, X-Men, Green Lantern, etc. These films represent one version of Joseph Campbell’s “Hero’s Journey”, where the original hero leaves his ‘ordinary world’ wherein he/she has some major flaw to overcome (like apathy, greed, distrust, anger, fear of strawberries…etc.) to answer ‘the call’ to be the hero he/she was destined to become. This is a very familiar trope. Erik suggested that Western culture’s “concept of Redemption has invariably separated from the Grace that created it.” Jesus the Teacher had somehow fallen to the wayside to make room for Christ the Redeemer. According to Erik: “Jesus the Teacher said to ‘turn the other cheek’, but today’s Redeemers kick ass. Jesus the Teacher told us that what is done in love is blessed, but today’s Redeemers have more personal and interior motivations.” The two have simply become two different people, says Erik and “the latter is a superstar” compared to the former.” He ends his post with these compelling thoughts:

“The Beatitudes have become rather old fashioned, it seems, as has the idea of Grace. That is what seems to be the problem with today’s Redeemers: theirs is a personal battle with evil, and not a social one. ‘Love thy neighbor as thyself’ is an alien concept in a world that is perfectly self centered. All that’s left to do is kick ass on those who disagr — er, behave in an evil way, yeah, that’s it! If popular fiction really is a mirror being held up against us, the image we see is not a pretty one. The heritage of Western Culture has turned into a strange kind of cartoon — exaggerated, repetitious, vain, slapstick, and ultimately too silly to watch. For some reason, very few people seem to understand this. They are too busy fixing their own hair in the mirror.”

pay it forwardIf you still don’t get what Erik and I are talking about, go watch the poignant film Pay It Forward and then contrast its main character with the one in Ultra Violet or The Matrix.

The definition for grace occupies almost half a page in the dictionary. When I think of grace I think of selfless compassion, humility, gentleness, kindness, mercy and forgiveness and both inner and outer beauty. So, why does grace languish in the shadows of redemption? Why do we watch — and more importantly, totally enjoy — these latter movies at the expense of the former? Why do we long for a strong but flawed hero with personal issues as our icon? One who is often tough, independent, and ‘kicks ass’ at the expense of gentleness, humility, cooperation and selflessness? If, as Erik suggests, we are seeking heroes who reflect our own self-image or at least the traits we strive to have, then what does popular fiction say about our choices in life? Is Erik right about this dichotomy? I’d say definitely yes…but also no…

MATRIXWhile I agree with Erik on the apparent separation of Christ figure in today’s popular fiction, perhaps there is another way to look at these tales that resolves this apparent dichotomy to some degree. My suggestion is to view them more as allegories with traits and values represented in several characters woven together in a complete and whole tapestry. To do so is to include the secondary character as being equally important. Let’s take Matrix, for instance. In fact, Neo isn’t the only Jesus-figure. His two female opposites (Trinity/Oracle) demonstrate Christ-like traits that embody grace, mercy, love (the holy spirit) and wisdom. Okay, so Trinity kicks major ass too; but her character also provides the chief motivation for our main ‘kick-ass’ hero through her selfless love and humility.

I assert that these two aspects of Christ (merciful teacher and redeemer) are indeed both represented (albeit in separate individuals) in films today: two individuals, one Christ the redeemer and the other Jesus the savior, often joined through a bond of selfless love; two halves of a whole.

The Gnostics have a word for this divine male/female pair: they call them syzygies, aeons (beings of light and emanations of God) that exist as complimentary pairs or twins. The aeon pair of Caen (which represents power, the redeemer) and Akhana (truth, love and grace, the teacher) are complimentary and inseparable. The yin/yang of a whole. The paradoxical oxymoron of order in chaos.

In Gnostic belief, aeons are emanations of God. According to one version, an aeon named Sophia (wisdom) emanated without her partner aeon, creating a Demiurge (responsible for the creation of the physical universe; Ialdaboth in Gnostic texts). Ialdaboth was not part of the Pleroma (fullness and the region of light) and apart from the divine totality [a metaphor possibly for humanity]). God then emanated two savior aeons, Christ and the Holy Spirit to save humanity from the Demiurge. Christ then took the form of the human, Jesus, to teach humanity how to achieve Gnosis (and know God).

So, for every Neo there is a Trinity/Oracle; for Violet there is Six; for Aeon Flux there is Trevor Goodchild; for Harry there is Dumbledore, and so on. In this way, the two complimentary aspects of Christ are reconciled. And in cases where such complimentary pairing is achieved (e.g., Neo would not have succeeded without both Trinity and the Oracle) we are taught that selfless cooperation is the highest form of heroism.

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.

 

 

How the Women of The Expanse Are Expanding Our Worldview

Expanse-5 Badass women

Something is changing for women—and for men too. I’m talking about storytelling, both in literature and in film. Only a few years ago, no one would have predicted the success of Wonder Woman, which portrays a well-rounded (gylanic) female hero as both “badass” warrior (strong, determined and violent) and kind (compassionate, nurturing, empathetic and inclusive). Sadly, its release in 2017 stirred a backlash of mysogynist censure from some males who support—like strident insecure Trump-ets—a male-dominated androcratic world where a submissive demure woman is admired as “feminine” and a determined mindful woman considered as betraying her gender. The film was a box office hit. Wonder Woman grossed $822 million (highest-grossing superhero origin film of all time). And a significant number of viewers were women.

The Androcratic Hero

The male hero stereotype in literature and films of western neoliberal-corporate culture—and science fiction particularly—has often been characterized by strength, courage, integrity & honor, intelligence, assertiveness, single-mindedness, faith in his quest, and boundless determination: he is the altruist warrior, often acting alone against an unfair society through his conscience: all traits honored, respected and esteemed in men. In a woman, these Boadicean qualities often taint her as “bitch” “bossy” or “cold”. She may be considered unwomanly, unlady-like, intimidating, and untouchable (as in lesbian).

MATRIXIn the androcratic model, a woman “hero” often presupposes she shed her feminine nurturing qualities of compassion, kindness, tenderness, and inclusion, to express those hero-defining qualities that are typically considered “male”. I have seen too many 2-dimensional female characters limited by their own stereotype in the science fiction genre—particularly in the adventure/thriller sub-genre. If they aren’t untouchable goddesses or “witches” in a gynocratic paradigm, they are often delegated to the role of enabling the “real hero” on his journey through their belief in him: as Trinity enables Neo; Hermione enables Harry; Mary Jane enables Spiderman; Lois enables Superman; etc. etc. etc.

In so many androcratic storylines, the female—no matter how complex, interesting and tough she starts out being—demures to the male lead. This returns us to the clichéd role of the woman supporting the leading man to complete his hero’s journey—without considering her own. And this often means serving as the prize for his chivalry. We see this in so many action thrillers and action adventures today that promote the “hero’s journey” story trope. There’s even a name for it: the Trinity Syndrome.

Just four years ago, in a post on women heroes in literature, movies and pop culture, I quoted Gitesh Pandya, editor of a box office analyst site, who argued that this is because female-driven action movies have a hard time selling. “Most of the action films that have become huge hits are either male-driven or ensemble.” According to Pandy, “The (SF action) film industry has been male-dominated for so long, the people who are creating and financing these films typically put men in there as heroes.”

The Expanse Challenges the Androcratic Trope

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Miller and Octavia Muss

In 2015, Syfy released Season 1 of The Expanse, a stylish and intelligent science fiction (SF) TV series set 200 years in the future when humanity has colonized the moon, Mars and the Asteroid Belt to mine minerals and water. The series is based on the novel series by James S.A. Corey with first novel in 2011 being “Leviathan Wakes”. Humanity has split three ways culturally, ethnically and even biologically: Earth is currently run by the United Nations; Mars is an independent state, devoted to terraforming with high technology; and the Belt contains a diverse mix of mining colonies, settlers, workers and entrepreneurs. Belters’ physiology differ from their Earth or Mars cousins, given their existence in low gravity.

The Expanse is a sophisticated SF film noir thriller that elevates the space opera sub-genre with a meaningful metaphoric exploration of issues relevant in today’s world—issues of resource allocation, domination & power struggle, values, prejudice, and racism. Critic Maureen Ryan of Variety says, “It’s to the show’s credit that it is openly political, and takes on issues of class, representation and exploitation.”

Women of “The Expanse” as Heroic Agents of Change

These issues are explored well through its female protagonists with subtle nuances of multi-layered social commentary sewn into virtually every interaction.

Julie Mao the expanse

Julie Mao (Florence Faivre)

Julie Mao (Florence Faivre) is an Earther and “the richest bachelorette in the system” according to Detective Miller, who is contracted by his boss to “kidnap” the “spoiled” wayward daughter of corporate magnate Jules Pierre Mao and return her home before she embarrasses him further. Julie joined the hard core faction of the OPA (Outer Planet Association, led by Anderson Dawes as an activist organization that sells itself as a Julie in vacuum the expanseliberator for Belters but is really a terrorist revolutionary group, looking to shift the balance of power); she naively joined to help the lowly belters achieve justice and a voice in the oppressive squeeze by Martian and Earth corporate interests. In “Back to the Butcher”, a colleague of Julie’s relates how she selflessly helped injured minors on Calisto in a tunnel collapse with cadmium poisoning: “I never saw her shed a tear over the fact that she’d have to take anti-cancer meds for the rest of her life.” The only time she cried, he shares, was when she was acknowledged as being a true “beltalowda.”

 

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Chrisjen Avasarala (Shohreh Aghdashloo)

Chrisjen Avasarala (Shohreh Aghdashloo) is the U.N. Deputy Undersecretary on Earth and a brilliant 23rd-century Machiavelli. She will stop at nothing in her search for the truth, including gravity torturing a Belter or playing her friends and contacts like chess pieces to find answers. What makes Chrisjen far more interesting than, say a Circe or Claire Underwood, is that her scheming—as reprehensible as it may be at times—comes expanse-chrisjen3from a higher calling, not from lust for power or self-serving greed. She’s seeks the truth. And, like Miller, she struggles with a conscience. Chrisjen is a complex and paradoxical character. Her passionate and unrelenting search for the truth together with unscrupulous methods, make her one of the most interesting characters in the growing intrigue of The Expanse. Avasarala is a powerful character on many levels—none the least in her potent presence (thanks to Shohreh Aghdashloo’s powerful performance); when Avasarala walks into a scene, all eyes turn to her.

 

Naomi Nagata

Naomi Nagata (Dominique Tipper)

Naomi Nagata (Dominique Tipper) is a Belter who grew up on prospecting ships in the Belt and Outer Planets. An extremely talented engineer with a mysterious past of regret and secret pain, Naomi uses arcane abilities to save the ship and her crew. “I have no resentments,” she tells her Martian interrogator. “I don’t believe in causes.” While she makes a point of expressing no allegiances, the Martians accuse her of being an OPA Naomi the expanseoperative and she finds herself ironically defending the Belt and Belters in the struggle between Earth and Mars. “We need to stick together,” she tells fellow Belter Miller and helps Fred Johnson’s team. Driven to help those in need, Naomi selflessly puts herself in harm’s way to save Belters used as lab rats on Eros or those left to die on Ganymede after a Mars and Earth skirmish. In an intimate moment with Holden after the atrocity on Eros with the proto-molecule experiment, Naomi reminds him: “We did not choose this but this is our fight now. We’re the only ones who know what’s going on down there; we’re the only ones with a chance to stop it.”

 

Drummer

Camina Drummer (Cara Gee)

Camina Drummer (Cara Gee) is a hard-calculating Belter who used to work for Anderson Dawes and is currently second in command for Fred Johnson (a previous U.N. officer and ‘the butcher of Anderson Station’ currently helping the OPA) on Tycho drummer-with-gunStation. A complex character with mysterious connections and intuitive skills for people, Drummer gives one the impression that she can nimbly navigate between hard-line OPA and Fred’s Earther-version of OPA justice for Belters. In “Pyre”, she shows her mettle when—after being shot and held hostage by a militant faction on Tycho—she finds the strength to summarily execute them.

 

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Bobbie Draper (Frankie Adams)

Bobbie-DraperBobbie Draper (Frankie Adams) is a staunch hard-fighting Martian marine who dreams of a terraformed Mars with lakes and vegetation and breathable atmosphere. Because of Earth’s Vesta blockade, Draper realizes that she will not realize her childhood dream of seeing Mars “turned from a lifeless rock into a garden.” The blockade forced Mars to ramp up its military at the expense of terraforming. Draper laments that, “with all those resources moved to the military, none of us will live to see an atmosphere over Mars” and bears a strong resentment against Earth. However, when Bobbie discovers her own government’s culpability with an Earth weapons manufacturer that used her own marines as guinea pigs, she chooses honour over loyalty and defects to seek justice.

 

The Expanse - Season 3

Anna Volovodov (Elizabeth Mitchell)

Reverend Doctor Annushka (Anna) Volovodov (Elizabeth Mitchell) is a gay Methodist doctor (married to a woman and with a daughter) who is introduced in Season 3 as she struggles through a mob of anti-war protestors to enter the United Nations building on Earth. When a young man collapses through the barricade and breaks his wrist, Anna asks him, “Is this your first protest?” then calmly and firmly directs a surly guard to help him, handling the situation with firm grace–even after being injured in the confrontation.

The Expanse - Season 3The Secretary General (who she had a previous friendship that soured over some dubious event) has called Anna in to write a stirring speech to unite Earth behind the war erupting between Earth and Mars. Anna enters the political intrigue with naive hope and is badly used; but her inner strength, keen intelligence and courage propels her on an amazing trajectory of influence to the outer reaches of the solar system where first contact is imminent. Like a quiet summer rainstorm, Anna brings a fresh perspective on heroism through faith, hope and inclusion.

Women as Gylanic Heroes

The gylanic hero is gaining momentum in science fiction and action-thrillers; the gylanic hero—embraced mostly by women—teaches us what humanity needs now more than ever: the heroic gifts of altruism, compassion, faith, courage, passion, and endurance. She is already there, in movies and TV shows like Lucy, Edge of Tomorrow, Hunger Games, Divergence, Orphan Black, FarscapeBattlestar Galactica and The Expanse: fighting the dragons of prejudice, ignorance, cruelty, greed and intolerance–in partnership with her male counterpart.

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When we dispense with gender-bias in defining heroism in story, we display maturity as a species. I think of my favorite stories in literature, peopled by men and women; all heroes: Tess of the d’UrbervillesFahrenheit 451King LearSolarisThe Grapes of Wrath1984Doctor ZhivagoBrave New WorldMartian Chronicles, and To Kill a Mockingbird — miller shows octavia mussto name just a few. The gender of the hero I empathized with was irrelevant. What remained important was their sensibilities and their actions of respect and integrity on behalf of humanity, all life and the planet.

Gylany: a social system based on equality of men and women
Androcracy: a form of governing system in which rulers are male (patriarchal rule)
Gynocracy: as with androcracy, an authoritarian rule by women over men (matriarchal rule)

A list of SF books and films with whole and relevant female heroes–gylanic heroes– follows below. There are many more. I’ve listed these because they are ones I enjoyed and know, several being my own. Please add yours:

GYLANIC HEROES (portraying women as agents of change equal with men)

  • Contact by Carl Sagan (Simon and Schuster) 1985. A woman’s quest into the unknown for benevolent intelligence in the universe.
  • Beggars in Spain by Nancy Kress (Harper Collins). 1993. A story that examines social consequences to transhumanist generic engineering.
  • A Handmaid’s Tale by Margaret Atwood (Anchor). 1998. A chilling fable of the near future, about a monotheocratic government where women are strictly controlled and assigned roles.
  • Cordelia’s Honor by Lois McMaster Bujold (Baen). 1999. A woman’s journey through deception and betrayal to find honour.
  • His Dark Materials Trilogy by Philip Pullman (Laurel Leaf). 2003. A fantasy alternate world adventure about a young girl who discovers that the fate of the universe lies in her hands.
  • Battlestar Galactica TV series by Ronald D. Moore. 2004. This second iteration of space “noah’s arc” is largely steered by key female agents of change in a gender-blind universe from complex pugilistic fighter jock and sly but intuitive politician, to love-seeking humanistic robot—all on a significant hero’s journey.
  • Darwin’s Paradox by Nina Munteanu (Dragon Moon Press). 2007. An eco-thriller about a woman unjustly exiled for murder and her quest for justice in a world ruled by technology and scientists.
  • The Hunger Games by Suzanne Collins (Scholastic Press). 2008. A series of books about teens forced to fight to the death on television.
  • The Year of the Flood by Margaret Atwood (McClelland and Stewart). 2009. Toby and Ren must survive the apocalypse described in the previous novel, each reminiscing about their time in the God’s Gardeners religious movement and the events that led to their current situations.
  • The Steel Seraglio by Mike Carey, Linda Carey, Louise Carey and Nimit Malavia (Chizine Publications). 2012. A novel about the women of a harem in an ancient Middle Eastern kingdom, who forge themselves into an army after they’re exiled from the city of their birth — and then return to claim the city for themselves.
  • The Splintered Universe Trilogy by Nina Munteanu (Starfire). 2011-2014. This trilogy, starting with Outer Diverse, follows the quest of Galactic Guardian Rhea Hawke, who must solve the massacre of a spiritual sect that takes her on her own metaphoric journey of self-discovery to realize power in compassion and forgiveness.
  • Divergent by Veronica Roth (Katherine Tegen Books). 2012. a young girl overcomes her assigned caste in a dystopian Chicago to realize her true self-identity, revealed to be dangerous to the very existence of her ordered society
  • The Last Summoner by Nina Munteanu (Starfire). 2012. A young baroness discovers that her strange powers enable her to change history—but at a cost. Vivianne begins her journey in the year 1410, on the eve of a great battle. She dreams of her Ritter (knight), who will save her from her ill-fated marriage and the strange events that follow. But early on, she realizes that she is the Ritter she dreams about.
  • Leviathan Wakes & series by James S.A. Corey (Orbit Books). 2011. A high-stakes near-future space-colonizing conflict that brings strong female protagonists of varying cultural, ethnic and political influence into key roles as agents of change.
  • The 100 TV series by Jason Tothenberg. 2014. In this post-apocalyptic Earth adventure, several women protagonists share key roles in determining the fate of humanity in violent change.
  • The Expanse TV series by Mark Fergus and Hawk Ostby, Syfy. 2015. The exemplary TV series based on the James S.A. Corey 7-book series.
  • Missions TV series by Julien Lacombe, Ami Cohen, and Henri Debeurme. 2017. The protagonist of this space race to Mars is a psychologist, who discovers her bizarre and personal connection to Mars, which promises to affect humanity’s destiny.
  • The Beyond film by Hasraf Dulull. 2018. This near-future thriller about first contact, features several women in key positions as scientists and mission administrators who must solve a key mystery that explores the consequences of humanity’s fearful tendencies.

Other Relevant Articles of Interest from The Alien Next Door:

 

Riane Eisler (in The Chalice and the Blade) provides examples of sociobiologists who draw on nineteenth-century Darwinism by citing insect societies to support their androcratic (social and political rule by men) theories. If humanity is to truly rise victorious over the scourge of climate change—a function of our current lifestyle and paradigms—we will need to adopt a cultural evolution that embraces a partnership society heralded by new and renewed symbology, language and “myth”: It starts with embracing gylanic heroes in literature and movies. Watching them, reading about them, writing and sharing these stories for the future they speak to.

 

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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.

The Power of Myth in Storytelling

conifer mirror in mistIf a being from another world were to ask you, ‘How can I learn what it’s like to be human?’ a good answer would be, ‘Study mythology.’ ”—Joseph Campbell

For Joseph Campbell, perhaps our era’s most influential student of mythology, myths express our basic need to explain, celebrate and immortalize the essence of life. Given that life itself has no “meaning”—it simply is—it is our stories (pulled from the ethers of our “muse”) that give meaning to life. We tell stories about how the world began, our struggles to survive, our victories against greed and evil. Each culture clothes its stories according to the place and time and associated issues. And each defines its heroes and villains accordingly. At the root of all these lies a universal and timeless human experience; where metaphor and imagery of myth transcend culture, time and place to encompass all of humanity and our striving journey toward truth, grace and peace. This is why all myth, from Plutarch’s Theseus & the Minotaur to George Lucus’s Star Wars, resonates with us, regardless of whether it was created yesterday or thousands of years ago.

Greek, Roman, Norse, African and Asian myths all address fundamental questions about our humanity: the fall of Icarus, Jason and the Argonauts, Romulus and Remus, Oedipus, Medusa, Perseus, King Arthur, Oedisseus, Vassilisa, Siegfried and the Nibelungenleid, Beowulf and Grendel, Jonah and the whale, Isolde and Tristan, Persephone and the underworld, Orpheus and Eurydice, Hercules, Osiris, Gilgamesh … the list is endless.

Artist as Mythmaker … and Shaman

“There’s an old romantic idea in German, das Volk dichtet, which says that the ideas and poetry of the traditional cultures come out of the folk. They do not,” says Campbell. “They come out of an elite experience, the experience of people particularly gifted, whose ears are open to the song of the universe.” He is referring to the artist, who speaks to “the folk”, who answer and create an interaction. “The first impulse in the shaping of the folk tradition,” says Campbell, “comes from above, not from below.” He is referring to the divine source, the muse, the gift of “seeing” bestowed on those willing to open themselves to it. According to Campbell, “The function of the artist is the mythologization of the environment and the world.” Like the shamans of ancient times, the storyteller— whether painter, writer, actor, singer or filmmaker— interprets the divinity in nature for others. We interpret unseen things for a tangible world.

Artists are the mythmakers — the shamans — of today. The ancient shaman’s authority came from individual psychological experience, not a social ordination (like a priest). A shaman’s powers were symbolized through his own familiars and the deities of his own personal experience. His personal truth. As artists we wholly participate in our “landscape”. Like Dante, we journey to the depths of our world, become its deepest truths to emerge later and share.

The Mythic Hero’s Journey in Story

In my opinion, the best stories follow the mythic hero’s journey plot structure. This is because “hero’s journey” stories are transformative for not only the protagonist (our hero) but for readers following along and identifying with her. Stories that pull a reader through the three steps of a human being’s evolution (separation, transformation, and return) promise great depth and fulfillment. This is what great storytelling does: they take us on a transformative journey of learning, through challenges of change to realize a prevailing victory. Writers are the shamans of today and the heroes we write about are our agents of change. Through our artistic drama of metaphor, we make commentary on the world and what it means to be human.

The hero archetype is particularly interesting, given that he or she is essentially us as we journey to prevail over the obstacles of our fears, weaknesses, and disappointments. Every hero is on a quest or mission (whether she realizes it or not). The true mark of a hero is in her willingness to sacrifice something of value, perhaps even her life, on behalf of an ideal or a group and ultimately for the greater good. A hero is the ultimate altruist. And she is you, the artist.

The Power of Mythologist

I recall a discussion with a young friend some time ago about her knowledge of writers vs. book titles (she knew few names of writers, even those whose works she had enjoyed, but could happily recite book titles). I realized that she chose her books based on their cover and the promised story within—with no attention placed on the author and no intention of following the author’s other works.misty-forest-path

“When you find an author who really grabs you, read everything s/he has done,” says Campbell. “Don’t say, ‘oh, I want to know what so-and-so did’—and don’t read the best-seller list. Just read what this one author has given you … the world opens up in a way that is consistent with a certain point of view … When you go from one author to another, you may be able to tell us the date when each wrote such and such —but he hasn’t said anything to you.”

 

Nina 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.

 

Walking the Tightrope Between Innocent and Cynical

The writer’s journey from the passion and vulnerability of innocence to the wisdom of experience can be a dark and twisted road. In fact, if you are a writer of any merit, I guarantee you that yours will be too. Think Dante in the forest…

Let me tell you a story … It starts in the early 1990s. I was an eager young sprite entering the novel publishing world with my newly finished science fiction novel: “Escape from Utopia”. I’d published a few short stories and many articles by then. In addition, I’d published many scientific papers and reports. Confident and cocky, I was proud of my novel and eager to share it with the world. And I thought I knew my way through that dark forest…

I zealously sent the manuscript to a bazillion agents and editors. I was rewarded for my zealous efforts with a tidal wave of rejection letters. Mostly form letters (see my amusing account of the evolution of rejection letters in my fiction writing guidebook, The Fiction Writer) and an excerpt in a previous post here: “Rejection, Part 2: the Evolution of Rejection

Then it came: an enthusiastic letter from an agent (I can’t remember the name: Literary Bridge or something); they said my work had great promise and that with some help from an editing firm they would consider representing me if I had it edited and resubmitted.

They recommended Edit Ink.

Those of you in the know and with some history in the industry may recall the Edit Ink scandal of the 90s. In short, it was a bait-and-switch scam that Bill Appel and Denise Sterrs (of Edit Ink) and their associated literary agents ran for close to a decade. Edit Ink was a “book doctor” firm near Buffalo, New York. The State of New York eventually convicted Appel and Sterrs and associates for defrauding prospective writers of several million dollars.

I remember my heart swelling with gratitude and optimism. Finally, someone liked my book! I naively considered their recommendation. Soon after—within days—I got an invitational letter from the pro-active Edit Ink. I can’t remember the exact content, except that they assured me that only the most promising writers were recommended to them by this particular agent. I remember seriously considering their offer. Then I got two more letters, one from another agent who recommended Edit Ink and another invitational letter from Edit Ink. Alarm bells went off. I went from naively hopeful to cynically suspicious. I did some investigating (something I should have done initially); by then the buzz was already on the Internet on their questionable practices. The lawsuit by New York State had yet to happen.

The Science Fiction Writers Association (SFWA) runs a “writer Beware” page, where memorable cases are reviewed. It’s worthwhile perusing just for your general knowledge and edification.

Here’s what they said about Edit Ink:

Founded by the husband and wife team of Bill Appel and Denise Sterrs, Edit Ink was a New York State-based editing service that engaged in a kickback referral scheme with a wide network of literary agents. Here’s how the scheme worked.

  • Participating agents sent letters to writers who’d submitted manuscripts the agents didn’t want to represent, saying that the writer’s work showed “promise” but “wasn’t quite ready for publication.” A useful service was recommended: Edit Ink, which for a fee would polish the ms. to make it more salable. Once the ms. had been edited, the agent would then be glad to reconsider it.
  • The agent forwarded the writer’s name to Edit Ink, which sent off a solicitation letter claiming, among other things, that Edit Ink received referrals for only a “select few” manuscripts (false), and that most publishing houses insisted on receiving “professionally edited” work (falser).
  • If the writer took the bait and paid for an edit, the referring agent received a kickback of 15%.
  • Writers who resubmitted their edited manuscripts to referring agents, per the referring agents’ suggestions, were given the brushoff. Either the market had “changed in the interim”, or the agency was “no longer representing that genre.”

Edit Ink charged $5 per page–exorbitant at the time even for a qualified editorial service, which Edit Ink very definitely was not. Its staff mostly consisted of recent college graduates with no publishing experience, working long hours for minimum wage. The typical Edit Ink edit was slipshod and superficial, consisting mainly of basic copy editing suggestions, and omitting the kind of in-depth analysis of plot, theme, character, and structure that might make a professional edit worthwhile.

At its height, dozens of literary agencies participated in the scheme. Edit Ink even set up its own bogus agencies and publishers to funnel more manuscripts its way. It’s estimated that the company made in excess of $5 million.

Mounting complaints from writers, and efforts by writers’ advocacy groups, at last spurred New York State to take action. In January 1998 the NYS Attorney General announced a lawsuit against Edit Ink for deceptive business practices, false advertising, and fraud.

Throughout the appeals process, Edit Ink continued to operate. Many questionable agents continued to refer manuscripts, and Aardvark Literary Agents (one of Edit Ink’s original bogus agencies) was taken over by co-defendant Kelley Culmer so it could go on functioning as a conduit for Edit Ink referrals. Business was dwindling, however–in part as a result of media attention, but largely because of spreading word in the then relatively new environment of the Internet. Once the appeal was denied, the thrill was gone. In August 1999, Appel and Sterrs closed Edit Ink’s doors for good.

Shades of Edit Ink

Edit Ink is by no means unique in the publishing industry. “Book doctors”, associated kick-back agents and subsidy publishers are, in fact, on the rise. This is not surprising, in view of the current rise in self-publishing and associated models. The industry is currently inundated with a range of publishing models from straight printing-only firms to full service publishing houses and anything in-between.

Author Victoria Strauss on her blog “Writer Beware” shares this story:

Over the past couple of days, I’ve heard from several writers who queried agents at Objective Entertainment, a relatively new literary agency with a strong track record and experienced staff, and received the following response:

Dear [name retracted], 

Thank you so much for contacting us at Objective Entertainment. We have reviewed your material and we would like to refer you to one of our Publishers who we trust and believe will be able to serve you best. In order to do this I need your permission and the following information so they can either contact you via Phone or Email. The following information we need is if you would like to receive their newsletter and special offers. I think this is an amazing opportunity for you. 

Please reply with the information we asked so that we can get you that one step closer to getting your work published! 

Best 

Tracey Ravenelle
Objective Entertainment

When the writers, eager to know the name of the publisher, requested more information, they received this response from Ms. Ravenelle:

We work with Iuniverse and AuthorHouse. Iuniverse has the number 5 book this week on the NY Times Best Seller List!

The writers then asked why Objective was recommending a self-publishing service. As of this writing, only one has received a response, which Ms. Strauss reproduced below exactly as it was sent to her:

Because we believe they would be the most beneficial for you at this point in time. Then you would come back to us after the sales starting racking up and we go major! This is the best way for an author to get their work out their. One of their books is number 5 on this weeks upcoming NY Times Best Seller list. So we believe they can help our potential future clients immensely.

EEK… aside from their atrocious grammar, Objective made some questionable recommendations. The major one being that of referring rejected clients to a self-publishing service (of course, they got a fee for referring clients to the house).

Vanity and Subsidy Publishers

SFWA shares another story:

Thousands of writers worldwide entered into contracts with Commonwealth Publications of Canada, a vanity publisher founded in 1995 by fee-charging literary agent Donald Phelan. Phelan worked with a number of other fee-charging agents who, in exchange for a kickback, recommended Commonwealth’s vanity contracts to their clients. Phelan also advertised for manuscripts in magazines such as Writer’s Digest and Writer’s Journal. (Writers take note: this is just one example of why you shouldn’t trust the classified ads in writers’ magazines.)

Commonwealth, which identified itself as a “subsidy” publisher (the implication being that the writer was contributing only a portion of the cost) typically charged $4,500 for publication, with a promised print run of 10,000. Its glossy promotional material promised all kinds of support to its authors: editing, proofreading, marketing, international distribution. But few of these services were actually delivered–and there were many other problems. Publication dates were delayed. Authors didn’t receive the number of books they were promised. The quality of finished books was poor. Books never showed up in bookstores. Royalties from books supposedly sold were never paid.

Fee-Charging Agents

SWFA shares this recent story:

On January 7, 2010, UK literary agent/film producer Robin Price appeared in court, accused of stealing more than half a million pounds from clients.

Price is alleged to have encouraged authors to pay exaggerated literary fees and invest in non-existent film deals, and has been charged with six counts of theft, most committed over the course of several years.

Even successful established writers were taken in by this one.

Writer Brian Knight, who suffered a book doctor agent scam, shares this advice: “New writers need to know that these people are still out there, spewing false promises … patting us on the back with one hand and picking our pockets with the other.” He advises new writers to research every individual and business with which they intend to do business.

Reign in your excitement and enthusiasm. Breathe. Then do the research. “Google.com is your friend,” says Knight. “There are other online resources available to writers. In this era of the information super-highway, it has never been easier to arm yourself against the scumbags and swindlers who make their living off the trusting and naive.” Knight also suggests, www.duotrope.com.

A great site to check out anyone in the writing and publishing industry is “Preditors and Editors” (intentionally misspelled). A site I have come to rely on for excellent market advice is www.ralan.com.

The writer’s journey is a hero’s journey, fraught with obstacles, dangerous distractions, and great disappointments (see Christopher Vogel’s excellent book The Writers Journey: Mythic Structure for Writers for more). But it is a path illuminated by a beacon of passionate expression, great sharing and exquisite victory. Choose your hero archetype carefully: choose magician.

We are the shamans, the myth-makers of our community and society. The artist / writer carries her archetypal message through story to her tribe, her community, her society and her world. It is both fulfilling and a great responsibility.

After the Edit Ink debacle, I picked myself up—a little wiser and a little moreswimming on pavement careful—and went on to find a traditional publishing house who published my first and second novels. Escape from Utopia became Angel of Chaos published by Dragon Moon Press (Part 1 of the Darwin’s Paradox duology), and I went on to publish seven more novels through traditional, indie, and self-publishing models: a historical fantasy, an SF adventure trilogy, two romantic SF novels, a short story collection (Natural Selection) and two text books on writing.

I haven’t looked back since… except to write this article, that is.

 

nina-2014aaNina 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.