Reminiscing on 2019…

Diary Water cover finalThis week is a wonderful time to reflect on the past year, 2019. It’s also a good time to be thankful for the things we have: loving family, meaningful friendships, pursuits that fulfill us and a place that nurtures our soul.

It’s been a very good year for my writing…and my soul…

Last year I received a writer’s dream Christmas gift: a signed contract with Inanna Publications to publish my ninth novel: “A Diary in the Age of Water” about four generations of women and their relationship with water during a time of extreme climate change. The book will be released by Inanna in May 2020 with a launch in Toronto on May 26th at Queen Books as part of the Toronto International Festival of Authors. The book is now available on Amazon.ca for pre-order!

Publications   

LBM 2019 ClimateInCrisis2019 saw several of my publications come out. In January 2019 the reprint of my story “The Way of Water” was published by Little Blue Marble Magazine. It will reappear in a print and web anthology devoted to climate fiction called “Little Blue Marble 2019: Climate in Crisis” on December 27, 2019. That will be the sixth time “The Way of Water” has been published!

EcologyOfStoryImpakter Magazine also published my article “How Trees Can Save Us,” an essay on five writers’ perspectives on trees and humanity’s relationship with them.

In June, I published the 3rd guidebook in my Alien Writing Guidebook series—called “The Ecology of Story: Worlds as Character” with Pixl Press in Vancouver. The launch on July 4th at Type Books was well attended with presentations by several local writers and artists.

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Nina Munteanu with The Group of Seven Reimagined

I was commissioned along with twenty other writers to write a piece of flash fiction for a commemorative anthology to the Group of Seven, entitled “The Group of Seven Reimagined,” with Heritage House in Vancouver.

I’d never written flash fiction before and it was both exciting and challenging to write. I was asked to pick an artist’s piece as inspiration for a flash fiction story. The beautiful hardcover book was released October 2019.

October also saw another of my pieces published. I was asked to contribute something to the Immigrant Writer’s Association’s first anthology, entitled “Building Bridges,” about the immigrant’s experience in Canada. While I’m not an immigrant, I did share my parents’ experience who had immigrated to Canada from France. I wrote a piece on the hero’s journey.

 

Age of Water Podcast 

AgeOfWater-HomePage

On November 22, 2019, co-host Claudiu Murgan and I launched the Age of Water podcast.  The podcast covers anything of interest from breaking environmental news to evergreen material on water and the environment. We interview scientists, journalists, writers, academia and innovators who share their knowledge and opinions about the real state of the environment and what committed individuals and groups are doing to make a difference. We talk about the problems and we talk about the solutions.

Appearances & Media / News

On June 22, I traveled to Port McNicoll at Georgian Bay to help give a writing intensive, hosted by publisher Cheryl Antao-Xavier at IOWI. I was also invited to speak at The Word is Wild Literary Festival in October. The event took place in Cardiff, in the Highlands of Ontario. In late October, I traveled with friend and editor Merridy Cox to Vermont to give a presentation on water to the Lewis Creek Association. Entitled “Reflections: The Meaning of Water”, the talk focused on our individual connection with water. I will be reprising this talk at several venues this year.

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Nina Munteanu with a metasequoia in the Beaches (photo by Richard Lautens)

I was also featured in the news a few times. The Toronto Star asked me to answer two questions about climate change and the Vancouver Sun published an Oped of mine entitled “Why Women Will Save the Planet.”

Research & Adventure

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Giant red cedars in Lighthouse Park

In Summer 2019 I travelled to British Columbia to visit friends and family in Vancouver and elsewhere. Following a dream of mine, I travelled with good friend Anne to Port Renfrew on Vancouver Island to see the ancient forests and the west coast. I had wanted to see these old-growth forests for some time since I’d been to Carmanah many years ago. The ancient forests were magnificent and breathtaking and so nourishing for the soul. Recognizing these forests as living cathedrals, I felt a deep reverence. The silent giants rose from wide buttressed bases into the mist like sentinels, piercing the heavens. A complex tangle of beauty instinct whispered in the breeze with the pungent freshness of pine, cedar and fir. Anne and I even had a chance to hug Big Lonely Doug, the second tallest Douglas fir tree in Canada.

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Nina Munteanu stands, dwarfed, by a Douglas fir tree in Lighthouse Park

While in British Columbia, I also visited a small enclave of old-growth forest in the heart of Vancouver at Lighthouse Park (West Vancouver). I went with son Kevin and then again with good friend Margaret. This majestic forest of redcedar, Douglas fir, spruce and hemlock is deeply awesome and humbling. And a real gem for the city.

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Nina Munteanu in Ladner, BC

Then, with just a few days before my flight back to Toronto, I slipped and fell and broke my ankle. I got a “boot” and a cane then hobbled on the plane and went back to work at UofT.

It has been a wonderfully inspirational year for me in writing and teaching. I still actively teach at The University of Toronto in several writing centres and classes throughout the downtown campus. The students are bright and challenging. I also still coach writers to publication and have helped several finish their works in 2019.

 

I hope the beauty of the season has filled your heart with joy. Wishing you a wonderful 2020, filled with grace, good health, and sweet adventure!

 

 

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

International Writers’ Festival at Val David

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

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

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

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International Festival among the trees

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

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

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

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

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Lunch at Flavia’s

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

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

 

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

C'est La Vie Cafe

C’est la Vie Cafe, Val David

Val David

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

 

 

 

 

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

 

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

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

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

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

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

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Reviewing the story we created through an exercise

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

creating a story

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

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

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

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Nina talks about some interesting adaptations in reproduction

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

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Cathedral Grove, Vancouver Island, BC

 

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

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

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

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

 

 

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Launch at Type Books

From Habitats and Trophic Levels to Metaphor and Archetype…

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

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Launch presenters

Launch at Type Books

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

Launch Presenters

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Launch sign outside

 

 

 

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

 

 

 

Can Dystopian Eco-Fiction Save the Planet?

NewYork 2140By failing to engage with climate change, artists and writers are contributing to an impoverished sense of the world, right at the moment when art and literature are most needed to galvanize a grassroots movement in favor of climate justice and carbon mitigation.”—Amitav Ghosh, 2017

…Margaret Atwood’s The Year of the Flood. Paolo Bacigalupi’s The Windup Girl or The Water Knife. Kim Stanley Robinson’s New York 2140. Nina Munteanu’s A Diary in the Age of Water. Richard Power’s Overstory. Annie Proulx’s Barkskins. Emmi Itäranta’s The Memory of Water

Diary Water cover finalWhat these novels have in common is that they are all Dystopian Eco-Fiction. Humanity’s key role in environmental destruction serves a strong thematic element. In eco-fiction dystopias (as opposed to political or socio-cultural dystopias such as Brave New World, 1984, The Handmaid’s Tale) the environment—whether forest, ocean, water generally, or the animal world—plays a key character.

Our Literature in the Anthropocene

In 2017, Amitav Ghosh observed that the literary world has responded to climate change with almost complete silence (The Great Derangement: Climate Change and the Unthinkable). “How can we explain the fact that writers of fiction have overwhelmingly failed to grapple with the ongoing planetary crisis in their works?” writes Fredrick Albritton Jonsson of The Guardian, who observes that, “for Ghosh, this silence is part of a broader pattern of indifference and misrepresentation. Contemporary arts and literature are characterized by ‘modes of concealment that [prevent] people from recognizing the realities of their plight.’”

Windup GirlAccording to Ghosh, plots and characters of contemporary literature tend to reflect the regularity of middle-class life and the worldview of the Victorian natural sciences, one that depends on a principle of uniformity. Change in Nature has been perceived as gradual (or static by some) and never catastrophic. Extraordinary or bizarre happenings were left to marginal genres like the Gothic tale and—of course—science fiction. The strange and unlikely have been externalized: hence the failure of modern novels and art to recognize anthropogenic climate change.

From Adam Smith’s 18th Century economic vision to the conceit of bankers who drove the 2008 American housing bubble, humanity’s men have consistently espoused the myth of a constant natural world capable of absorbing infinite abuse without oscillation. When James Lovelock and Lynn Margulis proposed the Gaia Hypothesis in the 1970s, many saw its basis in a homeostatic balance of the natural order as confirmation of Nature’s infinite resilience to abuse. They failed to recognize that we are Nature and abuse of Nature is really self-abuse.

Jonsson suggests that these Enlightenment ideas are essentially ideological manifestations of Holocene stability, remnants from 11,000 years of small variability in temperature and carbon dioxide levels, giving rise to deep-seated habits and ideas about the resilience of the natural world. “The commitment to indefinite economic growth espoused by the economics profession in the postwar era is perhaps its most triumphant [and dangerous] expression.”

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Louise Fabiani of Pacific Standard suggests that novels are still the best way for us to clarify planetary issues and prepare for change—even play a meaningful part in that change. In her article “The Literature of Climate Change” she points to science fiction as helping “us prepare for radical change, just when things may be getting too comfortable.”

Referring to our overwhelming reliance on technology and outsourced knowledge, Fabiani suggests that “our privileged lives (particularly in consumer-based North America) are built on unconscious trust in the mostly invisible others who make this illusion of domestic independence possible—the faith that they will never stop being there for us. And we have no back-ups in place should they let us down.” Which they certainly will—given their short-term thinking.

TheOverstory“To counteract this epidemic of short-term thinking,” says Fabiani, “it might be a good idea for more of us to read science fiction, specifically the post-apocalyptic sub-genre: that is, fiction dealing with the aftermath of major societal collapse, whether due to a pandemic, nuclear fallout, or climate change.”

I suggest widening the genre to include good dystopian eco-fiction, which includes not just post-apocalyptic tales but also cautionary tales, worlds in upheaval, and satires. Dystopian literature is ultimately an exploration of hope through personal experience. The eco-fiction protagonist navigates their dystopia by learning meaningful lessons—lessons that pertain directly to our reader in their current world. This is because the premise of a dystopia lies squarely in the present world. Good dystopias can enlighten and suggest possibilities; they can warn and herald. At the very least, they incite the necessary conversation.

On the Role of Dystopian Eco-Fiction

NaturalSelection-front-webI recently shared a panel discussion with writer Kristen Kiomall-Evans at the 2019 Limestone Genre Expo in Kingston entitled: “On the Role of (Dystopian) Literature and Environmental Issues: Can Books Save the Planet.” The audience of mostly women shared enlightened input in an open discussion, which spanned a range of topics and directions from what dystopian literature actually is to whether we are turned off by its negativity—that it may be too close to reality and makes us cringe and want to hide. One person even brought up Game of Thrones as an example; which I then bluntly suggested was not real “story”—it is a stream of episodic sensationalism and horror—aimed at thrilling shock value, not fulfilling meaning.

The group explored what Eco-Fiction is and the possibility of how eco-fiction writers can influence their audience to engage in helping the planet and humanity, in turn.

 “Science doesn’t tell us what we should do,” Barbara Kingsolver wrote in Flight Behavior “It only tells us what is.” Stories can never be a solution in themselves, but they have the capacity to inspire action. Margaret Atwood wrote in MaddAddam, “People need such stories, because however dark, a darkness with voices in it is better than a silent void.”

We explored several areas in which writers could elucidate ways to engage readers for edification, connection and participation. We discussed optimism, new perspectives, envisioning our future, and imaginative use of “product placement” to gain reader engagement and galvanize a movement of action.

Optimism in Story

I pointed out that good dystopias—like all good fiction—follow a character and story arc that must ultimately resolve (which Game of Thrones may never do, certainly not well—J.R.R. Martin’s books series upon which it is based are not even finished yet!). Eco-Fiction Dystopias often conclude with a strong element of hope, based on some positive aspect of humanity and the human spirit—which may include our own evolution. Think Day After Tomorrow, Year of the Flood, Windup Girl, The Postman, Darwin’s Paradox.

WaterAnthology-RealitySkimmingPress copyIn 2015, I joined Lynda Williams of Reality Skimming Press in creating an optimistic science fiction anthology with the theme of water. My foreword to Water addressed this point:

As we drank Schofferhoffers over salmon burgers, Lynda lamented that while the speculative / science fiction genre has gained a literary presence, this has been at some expense. Much of the current zeitgeist of this genre in Canada tends toward depressing, “self-interested cynicism and extended analogies to drug addiction as a means of coping with reality,” Lynda remarked. Where was the optimism and associated hope for a future? I brought up the “hero’s journey” and its role in meaningful story. One of the reasons this ancient plot approach, based on the hero journey myth, is so popular is that its proper use ensures meaning in story. This is not to say that tragedy is not a powerful and useful story trope; so long as hope for someone—even if just the reader—is generated. Lynda and I concluded that the science fiction genre could use more optimism. [As a result,] these stories explore individual choices and the triumph of human imagination in the presence of adversity. [Each story explores] the surging spirit of humanity toward hopeful shores.

New Perspectives in Story

Evans spoke of the emergence of and need for a strong voice by marginalized groups who would be most affected by things like habitat destruction and climate change. The poor and marginalized will most certainly make up the majority of climate change refugees, starved out and water shorted, and suffering malnutrition, violence and disease.

FifthSeason-JemisinEvans pointed out that afro-American writers (e.g., Octavia Butler, Walter Mosley, Nalo Hopkinson and N.K. Jemisin) and indigenous writers (Cherie Dimaline, Daniel Wilson, Drew Hayden Taylor) are an exciting voice, providing a new and compelling perspective on ongoing global issues.

I would add that the “feminine” voice—the voice of women and the voice of ecology and those who embrace the gylanic voice—are needed. This was strangely not mentioned in the group—perhaps because we were all women—but one. Such a voice can help personalize the experience to readers, by creating discovery, connection and understanding—and ultimately serving a key force in engaging readers to act.

Envisioning Our Future Through Story

One audience member shared a yearning for an optimistic focus through an envisioned world where solutions have successfully created that world. She wasn’t so much suggesting writing a utopia, but including elements of future wishes as an integral part of the world, following Ghandi’s wise advice: be the change you seek. In a recent interview in which I also participated in The Globe and Mail on women science fiction writers, Ottawa writer Marie Bilodeau addressed this concept:

“the best part about writing science fiction is showing different ways of being without having your characters struggle to gain rights. Invented worlds can host a social landscape where debated rights in this world – such as gay marriage, abortion and euthanasia – are just a fact of life.”

People are looking for hopeful fiction that addresses the issues but explores a successful paradigm shift. One that accurately addresses our current issues with intelligence and hope. The power of envisioning a certain future is that the vision enables one to see it as possible.

Product Placement in Story

Editor and naturalist Merridy Cox suggested that writers could make motivating connections through altruistic (not market-driven) “product placement.” She gave the example of an Ash tree. The Ash (Fraxinus species) could subtly make its name, its character and ecology known in the story, along with its plight—its destruction by the non-native invasive emerald ash borer. The use of metaphor and personification would easily link the Ash to a character and at the same time illuminate the reader on a real aspect of the environment to consider. Another example she gave was of the threatened bobolink bird, now all but gone. The bobolink originally made its home in the tallgrass prairie and other open meadows. As native prairies were cleared for farming, the bobolink was displaced and moved to living in hayfields and fallow fields—building their nests on the ground in dense grasses. Changing farm practices (shorter crop rotation and earlier maturing seed mixtures) are now destroying the bobolink’s last refuge.

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Bobolink mother and her chicks

 

Such “product placement” essentially gives Nature and the environmental a personalized face that can easily interact with the story’s theme and its characters. “Product placement”—like symbol—lies embedded in its own story. In the case of the bobolink, it is a story of colonialism, exploitation, and single-minded pursuit at the expense of others not considered, known or understood. These examples have anthropogenic connections to human behaviour, action and knowledge—all related to story and theme.

MockUpEcology copyIn my new writing guidebook The Ecology of Story: World as Character I discuss and explore how some authors do this impeccably. Authors such as Barbara Kingsolver, Richard Powers, Frank Herbert, Ray Bradbury, Thomas Hardy, Margaret Atwood, Alice Munro, Janet Fitch, John Steinbeck, David Mitchell, Joanne Harris and many others.

Writing for the Anthropocene

Learn how to write for the Anthropocene: 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 and symbols 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.

The Ecology of Story will be released by Pixl Press in June 2019.

 

 

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

 

 

Ecology of Story: Place as Metaphor

tree trunks coolRay Bradbury once told me that everything in story is metaphor. That is no more apparent than in setting and place, in which a story is embedded and through which characters move and interact. Metaphor is the subtext that provides subtleties in story, subtleties that evoke mood, anticipation, and memorable scenes. Richard Russo says, “to know the rhythms, the textures, the feel of a place is to know more deeply and truly its people.” When you choose your setting, remember that its primary metaphoric role is to help depict theme. This is because place is destiny.

Metaphor provides similarity to two dissimilar things through meaning. In the metaphor “Love danced in her heart” or the simile “his love was like a slow dance”, love is equated with the joy of dance. By providing figurative rather than literal description to something, metaphor invites participation through interpretation.

When I write “John’s office was a prison,” I am efficiently and sparingly suggesting in five words—in what would normally take a paragraph—how John felt about his workplace. The reader would conjure imagery suggested by their knowledge of a prison cell: that John felt trapped, cramped, solitary, stifled, oppressed—even frightened and threatened. Metaphor relies on sub-text knowledge.

This is why metaphor is so powerful and universally relevant: the reader fully participates—the reader brings in relevance through their personal knowledge and experience and this creates the memorable aspect to the scene.

Russo tells us that place is crucial to human destiny and the formation of human personality. “The more specific and individual things become, the more universal they feel,” says Russo. This is not an oxymoron, but an example of the principle of a truism that primarily comes to us in the form of paradox (like all good truisms). Detail provides the color and texture of your story and helps it resonate with a sense of place. This does not necessarily translate into a lot of exposition; but it does require creative choice of words. So, instead of “He took a drag from his cigarette as he drove his sports car along a winding road in the country”; (twenty words) try something like “Vinnie sucked on a Camel as his red Corvette careered the hair-pinned curves of Hell’s Gate.” (seventeen words).

Place Personified

old beech in forest-enrico fossati copy 2Personification is powerful metaphor that gives nonhuman things human qualities. It personalizes, energizes and emotionalizes. Place described through personification can illuminate both characters and their environment in compelling ways. By giving an object, place, or animal the qualities of a person, personification provides subtle aspects of mood and links the reader to a cocktail subtext of human feelings and struggles. Personification can connect the reader to “lifeless” objects such as water, soil, rock, the sun, moon, planet, concrete, paper, etc., to map the larger meaning of the story. Putting a character’s feelings into the objects around her—as POV character—creates a subtle but deep connection with the reader: “The darkness embraced her”; “The open-throated roar of the river pulled her near.”

D.H. Lawrence’s creates strong personification of Thomas Hardy’s Egdon Heath in Return of the Native:

…Egdon, whose dark soil was strong and crude and organic as the body of a beast.

In The Handmaid’s Tale—a dystopian tale of oppression and intrigue—Margaret Atwood writes:

There is something subversive about this garden of Serena’s, a sense of buried things bursting upwards, wordlessly, into the light, as if to point, to say: Whatever is silenced will clamour to be heard, though silently … Light pours down upon it from the sun, true, but also heat rises, from the flowers themselves, you can feel it: like holding your hand an inch above an arm, a shoulder. It breathes, in the warmth, breathing itself in.

Martin Nolan’s Still Point creates powerful imagery of a storm aftermath through an abandoned old shed and contrasts its loneliness to the half-wild woods nearby:

A deserted shed by the road, buckling under its roof, kneels into the tall grass. The woods beyond it hide the river … I turn back to the half-wild woods. These trees speak to each other, are wild enough for that. They live together, holding the riverbanks in place.

Cixin Liu’s The Three Body Problem—set against the backdrop of China’s Cultural Revolution—follows Wenji Ye, disillusioned by the massive environmental deforestation in the labour camps she is sent to work:

Her company wielded hundreds of chain saws like a swarm of steel locusts, and after they passed, only stumps were left. The fallen Dahurian larch, now bereft of branches, was ready to be taken away by tractor. Ye gently caressed the freshly exposed cross section of the felled trunk. She did this often, as though such surfaces were giant wounds, as though she could feel the tree’s pain …

Clearcut gordon valley-BW

Clearcut in Gordon Valley, British Columbia

In Memory of Water, Emmi Itäranta personifies this life-giving substance whose very nature is tightly interwoven with her main character. As companion and harbinger, water is portrayed simultaneously as friend and enemy. As giver and taker of life.

Water is the most versatile of all elements … Water walks with the moon and embraces the earth, and it isn’t afraid to die in fire or live in air. When you step into it, it will be as close as your own skin, but if you hit it too hard, it will shatter you … Death is water’s close companion. The two cannot be separated, and neither can be separated from us, for they are what we are ultimately made of: the versatility of water, and the closeness of death. Water has no beginning and no end, but death has both. Death is both. Sometimes death travels hidden in water, and sometimes water will chase death away, but they go together always, in the world and in us.

Personification of natural things provides the reader with an image they can clearly and emotionally relate to and care about. When a point-of-view character does the describing, we get a powerful and intimate indication of their thoughts and feelings—mainly in how they connect to place (often as symbol). When this happens, place and perception entwine in powerful force.

 

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.

 

 

Microsoft Word - Three Writing Guides.docx

nina-2014aaa

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.

 

 

 

 

Microsoft Word - Three Writing Guides.docx

 

nina-2014aaa

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.