Write What You Know–Write “From the Inside Out”

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Trees in snow and fog, Ontario

When I first heard the writer’s edict “write what you know” I rejoined: but I write science fiction—I write about the unknown. What I still had to learn was that by describing “the other” SF really describes “us”. We explore ourselves through our relationship with the unknown. We do this by ensuring that all our plotlines reflect theme.

Write About What You Know

How 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?

 

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Nina Munteanu hikes along Highland Creek, Ontario (photo by Merridy Cox)

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.”

Writing about what you know isn’t about literal truths; it’s about what you know inside your heart. Write from the inside out. Write about what excites you; what frightens you; what angers you, makes you sad, happy. As SF author Marg Gilks says, “You know more than you think.”

Twisted Truths & Inner Knowledge

Writers can use our 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 to have your knees shake with fatigue after a long climb or the hair-raising trepidation of walking into a dark place. Use these sensations to make your writing more sensual with added dimensions of reality.

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

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Deer Lake, Burnaby, BC (photo by Nina Munteanu)

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.
Rachell Gardner

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

An excerpt of this article appeared in CBC’s Canada Writes.

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“A Day in the Life” of Nina Munteanu in The Toronto Guardian

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Felix loves water!

On October 20, 2018, the Toronto Guardian presented “A Day in the Life” of Nina Munteanu, Toronto writer. The series previously profiled writer Charles de Lint, dance artist Natasha Powell, choreographer Maria Shalvarova, dancer Lori Duncan, author Claudiu Murgan and many others.

Editor Merridy Cox (who edited Nina’s latest book “Water Is…”) introduced the “Day”, followed by eight photos that marked Nina’s “typical” day, then a short interview by the Guardian.

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Nina’s early morning walk with Oli

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Nina writes her next novel at a local indie coffee shop

nina-2014aaaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

 

Nina Munteanu Interviewed in Canadian Romanian Newspaper “Observatorul”

Claudiu Murgan (author of “Water Entanglement”) recently interviewed me in the Canadian Romanian newspaper Observatorul.

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Gaudeamus Book Fair in Bucharest, Romania

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Nina Munteanu at Gaudeamus

In the interview, I talked about my involvement with the Toronto Romanian community through the Immigrant Writers Association and my visit several years ago to Bucharest Romania to launch my two writing guidebooks with Editura Paralela 45 at the Gaudeamus Book Fair at the Rome Expo Exhibition Centre:

“In 2011 I attended the launch of my writing guide Manual de Scriere Creativa. Scriitorul de fictiune (The Fiction Writer) in Bucharest, hosted by Editura Paralela 45 at the Gaudeamus Book Fair. Dr. Florin Munteanu, respected scientist in Complexity Theory, kindly picked me up at the airport and took me to the Phoenicia Grand Hotel where we relaxed in the lounge and discussed fractal geometry and the Fibonacci Golden Ratio over café cremes. It was a very civilized introduction to this eclectic “city of joy” and I felt strangely at home.

It was a wonderful experience, which included drinking copious amounts of Tuica with my publisher and touring the Lipscani District with George Kudor, a student of Florin’s. Florin calls Romania “the corpus callosum of the world” where east and west converge, mingle and learn. It’s no wonder that Romania is one of the leading countries in the world on complexity theory, a science that embraces the “collision” of different “worlds” to create more than the sum of its parts.”

scriitorul_de_fictiune_Munteanu_coperta1 copyFictionWriter-front cover-2nd ed-webThe Fiction Writer (Scriitorul de fictiune) was very well received by the Romanian writing community. Romanian poet and English instructor Lucia Gorea calls The Fiction Writer “the most practical book on publishing that I’ve ever read, and I’ve read them all!”

 

In the Observatorul interview, Claudiu asked me if I was pursuing other projects in Romania. I am currently corresponding with a Romanian distributor to get some of my other books translated and published in Romania. I also co-edit Europa SF, a European ezine on speculative fiction from around the world, with a focus on European science fiction, fantasy and horror.

The Way of Water-COVER copyI hope to collaborate more with colleague and friend Cristian Tamas, who introduced me to editor/publisher Francesco Verso (of Future Fiction) and Mincione Edizioni, who published my short story “The Way of Water.” I later developed “The Way of Water” in novel form and I anticipate its release next year.

I hope to do more with Dr. Florin Munteanu and Claudiu Murgan on projects to do with water—particularly on entanglement, intention, subtle energies and memory. I would be delighted if a Romanian publisher chose to translate my book “Water Is…The Meaning of Water” and publish it for Romanians.

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Gaudeamus Book Fair in Rome Expo Exhibition Centre, Bucharest

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Lipscani District in Bucharest

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Nina enjoying the book fair

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.

Revisiting the Short Story and Heinlein’s Five Rules of Writing

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The seventh class of my 12-week Creating Science Fiction course at George Brown College is all about short story writing. I’m by nature a progressive—and an itinerant explorer; so, I am updating materials for my students and sharing them with you.

PlayingTheShortGame-DougSmithOne resource I’m eager to introduce to my students is Canadian SF short story writer Douglas Smith’s recent guidebook, Playing the Short Game: How to Market & Sell Short Fiction. Smith’s guidebook is a Tardis-style smallish yet comprehensive guide on what it takes to be a successful short story writer from starting & finishing to marketing & publishing to leveraging & promotion.

Smith is an accomplished short story writer and marketer, who has always openly shared his treasures of acquired wisdom with others.  His stories have appeared in thirty countries and 25 languages. He’s won three awards and has three acclaimed collections—so far. For years, his Foreign Market List has helped writers—including me—sell their work all over the world. To date, I have sold short stories (mostly translated reprints) to markets in Greece, Poland, Romania, Israel, and Italy—thanks to his list.

Why Write Short?

coffee-doubleespressoI’m a petite five foot-three height and purposely wear flat shoes. I love short. I prefer my espresso pulled in short shots—or  ristretto—in my flat white. Described as bolder, fuller, with more body and less bitterness, the ristretto is like a burst of intense flavor with a lingering finish. Short is pretty cool.

Douglas Smith gives seven excellent reasons for writing short fiction, even if you are ultimately a novel writer, like me. Writing short stories:

 

  1. Helps you learn your craft in easy, short-term, bite-sized amounts and over a reasonable time for you to learn, apply, and relearn
  2. Helps you test the waters of literature, to discover what excites you, provokes you and what ultimately you NEED to express
  3. Builds your resume, again more easily and quickly than a novel, toward that ultimate novel; publishers of magazines and publishing houses are more likely to take your work seriously if you have a publishing history
  4. Helps you explore ideas for your novel, by “pinging” certain premises you may wish to explore in further detail or take elsewhere in a novel
  5. Helps you build a backlist of published stories, which you own, once rights have reverted back to you
  6. Helps you build a network in your writing community of publishing houses, editors, other writers and so forth as you submit and exchange through your works and letters (including all those rejections!). Eventually, a pleased editor/publisher may invite you to submit to a “Best of” anthology or provide a collection. This has happened to me several times.
  7. Helps you learn the publishing business (well, sort of, says Smith…). Through exposure to the business side of publishing, you will gain an appreciation of how the publishing world works.

Know What You’re Writing

Nina-computer-KraveA short story only has 7,000 or less words to get your tale across while a novel has over ten times that many words to do the same. It follows then that the short story format is a simpler one. This does not necessarily mean easier.

Novels provide a sense of change, growth and solutions to problems and conflicts. “The short story doesn’t have the luxury of depicting change; the closest it can come is awareness,” writes Shelley Lowenkopf in her 2007 article “Telling Tales” in The Portable Writer’s Conference: Your Guide to Getting Published by Quill Driver Books.

She goes on to describe the short story as a close-up to a novel’s landscape. The short story is, therefore, often more intense and powerful. A short story, more than a novel, has the power to transport, disturb and enlighten.

ElementsOfFiction-SceneStructure-BickhamRenowned short story authors like Edgar Allen Poe, Nathanial Hawthorne, and Somerset Maugham, emphasize the importance of striving for one effect when writing a short story: the single effect you wish to leave with the reader at the end. This is accomplished by selecting events or situations that build quickly into a combustible response. Even Alice Munro, who is known for cramming long timeframes into her short stories, frames time through a single event: a meal, family gathering, wedding or funeral, for instance.

Jack Bickham, in his book, Elements of Fiction Writing: Scene and Structure by Writer’s Digest Books (1993) writes that, “story length, author intention, traditional expectations of the audience, and all sorts of things may affect the form a story may take.” Choosing the appropriate length to tell your story relies on the complexity of your premise and theme.

Understanding the Short Story Format

Here are seven tips toward writing a compelling and memorable short story:

  1. Open in the middle of something happening (e.g., action/in a “scene”)
  2. Make your opening provocative (raise the stakes as high as you can)
  3. Write scenes and write sparingly (avoid describing the obvious—use description to show something odd, memorable, exotic)
  4. Have characters define themselves and their goals through what they do and observe (e.g., show more than tell)
  5. Define characters with dialogue (a great way to reveal while keeping a high pace)
  6. Withhold vital information for as long as possible
  7. Don’t explain the ending (cut down on the denouement; let the reader make those conclusions—a key in the short story format)

Selling Your Short Story

Smith’s guidebook provides several chapters of excellent advice in logical steps toward a successful career.

Here are just a few gems that I will be sharing with my students.

First of all, remember that you are not selling your story; you’re licensing a particular set of rights for someone to do something with that story. Before you do anything else, do your homework: know the rights you’re selling; and which ones to keep. Smith describes five major types of rights: media; language; geography (less and less relevant); occurrence; and time.

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Eramosa River, Ontario (photo by Nina Munteanu)

Media rights include print rights, electronic rights and audio rights. Markets include magazines, anthologies and collections for short stories. Language and geography rights are pretty self-explanatory. Occurrence rights relate to whether the publisher is buying first or second and onward rights (otherwise known as reprints). Most publishers prefer to pay for the right to publish your work for the first time in that particular format (e.g., in print and in English, for instance). Having said that, I’ve had a lucrative history of selling reprints to some of my more popular short stories. I’ve furthered gone on to selling other rights, such as foreign language rights and audiobook and e-book rights. I’ve also sold two short story collections, one to an Italian publisher (coming out this year) and shorts in several anthologies. No movies yet… But I did have a serious discussion with a writer/producer on one of my shorts. Recall how many Philip K. Dick short stories have been adapted to movies (e.g., Total Recall, The Adjustment Bureau, Paycheck, Minority Report, and Blade Runner).

Heinlein’s Five Rules of Writing

Smith evokes SF writer Robert J Heinlein’s 5 rules of writing to succeed as a short story writer (as any kind of writer, actually). These are:

  1. You must write
  2. You must finish what you write
  3. You must refrain from rewriting, except to editorial order
  4. You must put the work on the market
  5. You must keep the work on the market until sold

I know… Number 3 sounds pretty suspicious, or arrogant at the very least. As Robert J. Sawyer concludes on his site in reference to the five rules, number 3 is open to reasonable interpretation. Of course, it must mean AFTER you’ve finished and edited the story with some level of confidence that you’re happy with it—never mind what other people think of it.

FictionWriter-front cover-2nd ed-webNina’s Bus-Terminal Model

In my writing guide The Fiction Writer, Chapter L (for “Long or Short?”), I talk about how I launched my own successful short story writing career. I’d been writing short stories for a few years without much success (I was getting interesting rejection letters, so I knew I was getting close); then I settled into a kind of model/routine. I call it The Bus Terminal Approach. As Smith attests—several times—it’s a numbers game. That’s how I played it. It starts with one story and relies on you not waiting until you write the next, and the next and the next. Here’s how it works:

  1. You list at least 3 markets that you’ve researched for Story A and send it to the first of the three
  2. You start right away writing Story B, send it to the first of 3 markets you’ve researched and listed for it
  3. When Story A rejection arrives, you do not revise but send it right away to the second market
  4. Same thing for Story B
  5. Write Story C and treat similarly

NaturalSelection-front-webRemember to keep track of what you send where and when and what happens to it. It can become a very confusing bus terminal otherwise, with someone ending up in Seattle when they are headed to Toronto! What happens with this approach is several things: you begin to treat the whole marketing/publishing process as a business (which it is) and because you have so many “buses” out there coming and going, the rejections don’t hurt quite as much and instead become part of the learning process, which they should be. You adopt a more business-like approach, which translates into your relationship with editors and publishers. A win-win situation results. Believe me; this works. Once I fell into this method, my sales increased by over 70%.

 

Several of my stories are currently available in a collection entitled Natural Selection by Pixl Press. You can read one of my short stories right on Amazing Stories: “Virtually Yours”.

My guidebook, The Fiction Writer, can be purchased in various online and onsite bookstores, including Amazon, Kobo, Chapters Online, Barnes & Noble, and several others even I don’t know about.

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 short story is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

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

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

Nina Munteanu

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

My Writing Retreat in Niagara-on-the-Lake

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Ravine Vineyard Estate Winery

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

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

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Noble Restaurant, Prince of Wales Hotel

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Horse and carriage on King Street

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

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Fred Gamula

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

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Patio of Prince of Wales Hotel

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

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

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Nina and her favourite hippo

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

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

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

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Wayne Gretzky with his “99”

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

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General store of Ravine Vineyard Estate Winery

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

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

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

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Free range chickens roam the vineyard at Ravine

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

 

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Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

 

 

 

 

 

 

 

 

 

 

On Being a Canadian Writer in the Age of Water

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

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Nina  “reading” in Granby, Quebec

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

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

Ecologist vs Nationalist

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

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

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

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

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Nina kayaking Desolation Sound in British Columbia

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

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The Dory Shop in Lunenburg, Nova Scotia

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

Historian and writer Charlotte Gray wrote:

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

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Marsh near Barkerville, BC (photo by Nina Munteanu)

Canada as Postnational State

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

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

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

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Eramosa River, Ontario (photo by Nina Munteanu)

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

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

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Mom and son explore BC wilderness

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Deer Lake, BC (photo by Nina Munteanu)

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

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

Happy Canada Day!

 

References:

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

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

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

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

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

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

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

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

 

nina-2014aaaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

 

Limestone Genre Expo—May 2018

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

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

 

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

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Merchant Tap House, Kingston (photo by Nina Munteanu)

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

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

Panels I participated in and in some cases moderated included:

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

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

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

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

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

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

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

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

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

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

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authors Agnes Jankiewicz and Nina Munteanu

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

 

Nina Munteanu

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

 

Nina Reads About Water at Oakville Literary Café in Joshua Creek Art Centre

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Joshua Creek Art Centre (photo by Nina Munteanu)

In late May, I was invited to read from my short story “The Way of Water” and my recent book “Water Is…” at the Oakville Literary Café, held at the Joshua Creek Art Centre.

 

The Way of Water

“The Way of Water” has appeared in several collections and anthologies in Europe and North America and received praise from around the world, including: The National Observer, Prism International Magazine, Speculating Canada, SoloLibri in Italy, and most recently in Orson Scott Card’s The Intergalactic Medicine Show.

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Joshua Creek Art Centre (photo by Nina Munteanu)

“The Chinese multinationals have exchanged the public debt of other states with their water reserves with which, now, they can control the climate, deciding when and where it will rain.Who understands this dirty game has been silenced, like Hilda’s mother, a limnologist, inexplicably arrested and never returned; like the daughter of two water vendors, mysteriously disappeared, after having decided not to bow to economic powers: Hanna, who now prefers secure virtual identities to evanescent real appearances. Water. The two, like the covalent bond of a complex molecule, develop a relationship of attraction and repulsion that will first make them meet and then, little by little, will change into a tormented love but, at the same time, so pure as to cause Hilda at great risk, to make an extreme decision that will allow Hanna to realize the strange prophecy that the internal voice, perhaps the consciousness of water, had resonated in the two women for a long time.” —Simone Casavecchia, SoloLibri.net

The Way of Water-COVERShe imagines its coolness gliding down her throat. Wet with a lingering aftertaste of fish and mud. She imagines its deep voice resonating through her in primal notes; echoes from when the dinosaurs quenched their throats in the Triassic swamps.

Water is a shape shifter.

It changes yet stays the same, shifting its face with the climate. It wanders the earth like a gypsy, stealing from where it is needed and giving whimsically where it isn’t wanted.

Dizzy and shivering in the blistering heat, Hilda shuffles forward with the snaking line of people in the dusty square in front of University College where her mother used to teach. The sun beats down, crawling on her skin like an insect. She’s been standing for an hour in the queue for the public water tap.

Exile-CanTales ClimateChange copyEmilie Moorhouse of Prism International wrote: “Soon after I finished reading the book, Cape Town—known in precolonial times as “the place where clouds gather”—announced that it was only a few months away from what it called “Day Zero,” the day the city would officially run out of water, making the similarities between fiction and reality more than unsettling. Munteanu’s story is set in a futuristic Canada that has been mined of all its water by thirsty corporations who have taken over control of the resource. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation preventing rain clouds from going anywhere north of the Canada-US border.”

“In ‘The Way of Water’, Nina Munteanu pens her love letter to water, exulting it as a liquid that has semi-magical properties…’The Way of Water’ evokes a sense of awareness about issues of access to water and about the dangers of imbalances in that access.”—Derek Newman-Stille, Speculating Canada

FF - Rosarium Cover copy“…In an interesting scarcity future in which we follow the fate of a character abandoned by her mother, water itself becomes a character. In the second paragraph we’re told that “Water is a shape shifter,” and in the next page we encounter the following description: “Water was paradox. Aggressive yet yielding. Life-giving yet dangerous. Floods. Droughts. Mudslides. Tsunamis. Water cut recursive patterns of creative destruction through the landscape, an ouroboros remembering.” These descriptive musings cleverly turn out to be more than metaphors and tie in directly to the tale’s surprising ending.”—Alvaro Zinos-Amaro, IntergalacticMedicineShow.com

 

Water Is-COVER-webWater Is… The Meaning of Water

I also read from my non-fiction book “Water Is… The Meaning of Water.” I read several quotes from “Water Is…”. The water quotes had earlier been displayed at a photographic art exhibition in the Great Hall of the Mississauga Civic Centre. The art exhibition celebrated the Waterfront Connection wetland construction, a realized vision of the late Jim Tovey.

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Photo Art in the Great Hall of the Mississauga Civic Centre

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Quote from Nina Munteanu’s “Water Is…” displayed alongside photo art

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Quote from “Water Is…” displayed at the Civic Centre in Mississauga

 

Joshua Creek Heritage Art Centre

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Back patio of Joshua Creek Art Centre (photo by Nina Munteanu)

Envisioned by Sybil Rampen as a place to meet, collaborate and cultivate relationships, the Joshua Creek Heritage Art Centre was established at the 1827 heritage house on Rampen’s family farm on Burnhamthorpe Road in Oakville. The art centre serves the community as a gathering place—creative media workshops, films, musical events, lectures and weddings. The facility promotes local heritage and accessibility. Ecological integrity remains central to its activities.

Joshua Creek

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Joshua Creek (photo by Nina Munteanu)

Joshua Creek originates near the art centre north of Burnhamthorpe Road and flows about 6 km south through the farm then mostly forest, eventually emptying into Lake Ontario. I was told that the creek has good water quality, apparently the best in the county. Oakvillegreen.org provides some history on Joshua Creek:

“Joshua Creek exists as a patchwork of past glories and present changes on a very dynamic and human-controlled landscape… many of its lands were cleared and altered beyond recognition, with only certain key areas left mostly to nature. In spite of these influences, Joshua Creek is home to 3 small Environmentally Sensitive Areas (ESAs), although two of these – Joshua Creek Valley and Wildflower Woods – have declined since they were highlighted in the 1970’s, and while still valuable, may no longer qualify as ESAs in the future. In only a handful of decades, development has quickly covered most of the lower two thirds of the creek’s land base, including important parts of its ESAs. In several areas, Joshua’s natural winding “meander” has been artificially straightened in order to efficiently use the land on either side. And in many places, foreign species have invaded the natural areas of the creek, changing the ecosystem in a big way.

JoshuaCk03But Joshua is a spirited creek – in spite of all it has been through, Joshua Creek is among the top two urban creeks for healthy water quality, and is still inhabited by a variety of aquatic animals like small fish and insects. Joshua Creek is home to forests, wetlands and thickets with around 150 plant species, and provides an important natural habitat corridor for the movement of birds and other animals, including migratory species. Rather than exclusively shrinking, there are also areas of Joshua Creek that are actually in the middle of regrowing their forests, and in spite of everything, Joshua still retains some beautiful gems of natural areas.”

nina-2014aaa

Nina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

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