The Careful Writer: Common Pitfalls of the Beginning Novelist: Part 2–Language

painted leavesHere are five things that I guarantee will improve your story:

  1. Voice: This is the feel and tone that applies to the overall book (narrative voice) and to each character. The overall voice is dictated by your audience, who you’re writing for: youth, adults, etc. It’s important to give each character a distinctive “voice” (including use of distinct vernacular, use of specific expressions or phrases, etc.). This is one way a reader can identify a character and find them likeable—or not. In a manuscript I recently reviewed, I noticed that the characters spoke in a mixture of formal and casual speech. This confuses the reader and bumps them out of the “fictive dream”. Consistency is very important for readers. They will abandon a story whose writing is not consistent. So, my advice to this writer was to pick one style for each character and stick to it. Voice includes what a character says. It incorporates language (both speech and body movements), philosophy, humor. How a character looks, walks, talks, laughs, is all part of this. Let’s take laughter for instance: does your character tend to giggle, titter, chortle, gafaw, belly-laugh? Do any of your characters have conflicts with one another? Either through differences in opinions, agendas, fears, ambitions… etc. One learns so much from the kind of interaction a character has with his/her surroundings (whether it’s another character or a scene).
  2. Point of View (POV): Many beginner’s novels are often told through no particular POV. Many first manuscripts often start in the omniscient POV (that of the narrator) and ever so often may lapse into one of the character’s POV briefly. This makes for very “telling vs showing” type of writing (not to mention being inconsistent again). 90% of writers do not write this way because it tends to be off-putting, it distances the reader from the characters, and is very difficult to achieve and be consistent with. Most writers prefer to use limited third person POV (told from one or a few key characters; that is, you get into the head and thoughts of only a few people: all the observations are told through their observations, what they see, feel and think). This bonds the reader to your characters and makes for much more compelling reading. I would highly suggest you adopt this style. That’s not to say that you can’t use several POVs… just not at the same time; it is the norm to use chapter or section breaks to change a POV.
  3. Passive vs. Active Verbs: beginners often use a lot of passive verbs (e.g., were, was, being, etc.). Some use too may modifiers. Try to find more active verbs. Many writers fall into the pattern of using verbs that are weak and passive (and then adding a modifier to strengthen it…it doesn’t). Actively look for strong, vivid verbs. This is a key to good writing. I can’t emphasize this enough. For instance, which version is more compelling: ‘she walked quickly into the room’ or ‘she stormed into the room’?
  4. Show, don’t tell: this is partly a function of POV and use of active verbs. Once you change to 3rd person, much of this will naturally resolve itself. An example of telling vs. showing is this: [He was in a rage and felt betrayed. “You lied, Clara,” he said angrily, grabbing her hand.] instead, you could show it: [His face smoldered. “You lied, Clara,” he roared, lunging for her.] Telling also includes large sections of exposition, either in dialogue or in narrative. This happens a lot in beginning writer’s stories. It takes courage and confidence to say less and let the reader figure it out. Exposition needs to be broken up and appear in the right place as part of the story. Story is paramount. “Telling” is one of the things beginning writers do most and editors will know you for one right away. Think of the story as a journey for both writer and reader. The writer makes a promise to the reader that s/he will provide a rip-roaring story and the reader comes on side, all excited. This is done through a confident tease in the beginning and slow revelation throughout the story to keep it compelling. Exposition needs to be very sparingly used, dealt out in small portions.
  5. Unclutter your writing: There is a Mennonite adage that applies to writing: “less is more”. Sentences in early works tend to be full of extra words (e.g., using “ing” verbs, add-ons like “he started to think” instead of simply “he thought”). Cut down the words in your paragraphs (often in the intro chapters) by at least 20%. Be merciless; you won’t miss them, believe me, and you will add others later in your second round of edits.

 

This is an excerpt from The Fiction Writer: Get Published, Write Now! (Starfire)

 

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

The Careful Writer: Common Pitfalls of the Beginning Novelist: Part 1–Characters

painted leavesHave you ever wondered how an editor decides not to read your cherished tome past the second paragraph of the first page and has pegged you as a beginning writer? This used to really bug me… Now, as a published author, mentor, and writing coach I read a lot of unpublished manuscripts. I now recognize what these editors do.

So, I’d like to share what I’ve learned over the years (some of the very same comments that have been made of my work, I am now sharing with you). I’ll be providing you my advice in three parts: 1) characters; 2) language; and 3) structure.

Let’s start with characters, since they are in my opinion, the most important part of a novel:

Characters carry the theme of the book. Each character needs to have a role in advancing the plot and/or theme; each character needs a reason to be there. A character therefore needs to be distinctive and usually shows some character development (as story arc) from beginning to end of story. Your characters are the most important part of your book (more so than the plot or premise). Through them your book lives and breathes. Through them your premise, your plot (which is essentially just a way to create problems for your characters to live out their development) and story come alive. Through them you achieve empathy and commitment from the reader and his/her willingness to keep reading to find out what’s going to happen next: if the reader doesn’t invest in the characters, they won’t really care what happens next.

Characters need to be real. They come to life by giving them individual traits and real weaknesses and heroic qualities that are consistent and have qualities readers can recognize and empathize with. You play these against each other to achieve drama. For instance, a man who is afraid of heights but who must climb a mountain to save his love is far more compelling than one who is not; a military man who fears responsibility but must lead his team into battle; a scientist who is afraid of failure; etc.

Characters of beginning writers often suffer from lack of distinction, or purpose, and often simply clutter up a story. For a character to “come alive” their “voice” must be distinct. Give them distinctive body movements, dress, facial features and expressions that reveal character, inner feelings, emotions, fears, motivations, etc. Then keep them consistent. There are several techniques writers use to increase empathy for a character. This includes use of third person POV, keeping the story with focus on fewer rather than many characters, creating character dossiers and keeping them consistent, providing each character a distinctive “voice” (figuratively), as in how they behave, say, react, etc. Another way to make your characters distinct (and works to also tie into plot and theme) is to make your characters not get along. Make them argue, disagree (at least!), have suspicions, betray one another, laugh and ridicule, etc. By doing this you increase tension, conflict (two things every book requires) and you enlighten the reader into each of the characters involved. Make them fight or argue over what they believe in – or not. You need to describe your characters in effective brief but vivid language as the reader encounters them.

Here are some questions you need to ask about your characters:

  1. if I can remove the character, will the book fall apart? (if not, you don’t need that character; they aren’t fulfilling a role in the book);
  2. how does the character portray the major or minor theme of the book? (that’s what characters are there for)
  3. what is the role of the character? (e.g., protagonist, antagonist, mentor, catalyst, etc.)
  4. what is the story arc of the character? Does he or she develop, change, do they learn something by the end? If not, they will be two-dimensional and less interesting
  5. what major obstacle(s) must the character overcome?
  6. who are your major protagonist(s) (the main character who changes the most)?
  7. who are your major antagonist(s) (those who provide trouble for your protagonists, the source of conflict, tension, the obstacle: one of their own?
  8. what’s at stake: for the world (plot); for each individual (Theme) and how do these tie together? Every character has a role to fulfill in the plot and to other characters. Don’t be afraid to totally remove characters if they do not fulfill a role.

To summarize, each character is there for a purpose and this needs to be made apparent to the reader (intuitively through characterization, their failings, weaknesses, etc.). Make them bleed, hurt, cry, feel. This needs to be clear to the reader, who wants to empathize with some of them and hate others. How characters interact with their surroundings and each other creates tension, a key element to good storytelling. Tension, of course builds further with the additional conflict of protagonist with antagonists. But, in truth, it’s more fun to read about the tension from WITHIN a group that’s supposed to be together. Think of Harry Potter and what was juicy there… It wasn’t really Voldemort … it was what went on at Hogwarts between Harry and his friends and not-so-friends. That is what makes a story memorable; that is what makes a story something you can’t put down until you’ve finished it.

Part 2 of the Beginning Novelist will focus on language.

This is an excerpt from The Fiction Writer: Get Published, Write Now! (Starfire)

 

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

 

 

He said, She said: Using Dialogue

fall trees pathOne of the most important devices to spice up narrative and increase pace is the use of dialogue. There’s a reason for this: we read dialogue more quickly; it’s written in more fluid, conversational English; it tends to create more white space on a page with less dense text, more pleasing to the reader’s eye.  Dialogue is action. It gets readers involved.

Good dialogue neither exactly mimics actual speech (e.g., it’s not usually mundane, repetitive or broken with words like “uh”) nor on the other extreme does it proselytize or educate the reader through long discourse (unless the character is that kind of person). Good dialogue in a story should be somewhere in the middle. While it should read as fluid conversation, dialogue remains a device to propel the plot or enlighten us to the character of the speaker). No conversation follows a perfect linear progression. People interrupt one another, talk over one another, often don’t answer questions posed to them or avoid them by not answering them directly. These can all be used by the writer to establish character, tension, and relationship.

Below, I provide a few tips when using dialogue in your story.

  • Show, don’t tell: a common error of beginning writers is to use dialogue to explain something that both participants should already know but the reader doesn’t. It is both awkward and unrealistic and immediately exposes you as a novice. For instance, avoid the use of “As you know…” It’s better to keep the reader in the dark for a while than to use dialogue to explain something. Which brings us to the next point.
  • Have your characters talk to each other, not to the reader: for instance, “Hello, John, you loser drunk and wayward son of the most feared gangster in town!” could be improved to, “You stink like a distillery, John! Wait ‘til papa’s thugs find you!”
  • Avoid adverbs: e.g., he said dramatically, she said pleadingly; instead look for better ways to express the way they said it with actual dialogue. That’s not to say you can’t use adverbs (I believe J.K. Rowling is notorious for this), just use them sparingly and judiciously.
  • Avoid tag lines that repeat what the dialogue already tells the reader: e.g., “I’m sorry,” he apologized. “Do you have a dog?” she asked.
  • He said, she said: reduce tag lines where possible and keep them simple by using “said”; another sign of a novice is the overuse of words other than said (e.g., snarled, hissed, purred, etc.). While these can add spice, keep them for special places as they are noticed by the reader and will distract otherwise.
  • Pay consistent attention to a character’s “voice”: each character has a way of speaking that identifies them as a certain type of person. This can be used to identify class, education, culture, ethnicity, proclivities, etc. For instance one character might use Oxford English and another might swear every third word.
  • Use speech signatures: pick out particular word phrases for characters that can be their own and can be identified with them. If they have additional metaphoric meaning to the story, even better. For instance, I know a person who always adds “Don’t you think?” to almost everything they say. This says something about how that person… well, thinks… I knew another person who always added “Do you see?” at the end of their phrase. Again rather revealing.
  • Intersperse dialogue with good descriptive narrative: don’t forget to keep the reader plugged into the setting. Many beginning writers forget to “ground” the reader with sufficient cues as to where the characters are and what they’re doing while they are having this great conversation. This phenomenon is so common, it even has a name. It’s called “talking heads.”
  • Contradict dialogue with narrative: when dialogue contradicts body language or other narrative cues about the speaker, this adds an element of compelling tension and heightens reader excitement while telling them something important. Here are a few examples:

“How’d it go?”

“Great,” he lied.

“I feel so much better now,” she said, eyes darting away from him.painted leaves

Well, you get the picture, anyway.

This is an excerpt from The Fiction Writer: Get Published, Write Now! (Starfire)

 

 

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

Resonating with the Universe

bare trees in misty waterDoes art imitate life or does life imitate art? Which came first? Story or reality? Do we dream about our past or of another reality? What is déjà vu…really?  What came BEFORE the Big Bang? Did time even exist before we defined it?

The most frequent question asked of writers is “where do you get your ideas?” to which we often bumble some inadequate reply and evoke that indefinable abstruse term MUSE. But what is muse…really? Intuition? Divine inspiration?

In a quote from his autobiographical essay, Philip Pullman says, “It’s important to put it like that: not ‘I am a writer’ but rather ‘I write stories’. If you put the emphasis on yourself rather than your work, you’re in danger of thinking that you’re the most important thing. But you’re not. The story is what matters and you’re only the servant, and your job is to get it out on time and in good order.” But where do they come from, Philip?

In my 2012 historical fantasy “The Last Summoner” (Starfire), the young Baroness Vivianne discovered that she could alter History. Having travelled into the future (e.g., 2010 from 1410 Poland), she used hindsight to recreate a new path for humanity, one devoid of two world wars and the evils consequently unleashed. Vivianne traveled back in time and tried to subvert critical events (time/space nodes) involving Emperor Wilhelm II, Annie Oakley, Nikola Tesla and others. In each case, her interference failed to alter the event in the way she had hoped. In fact, while the details of History differed, the end result remained pretty much the same. For instance, it seemed that no matter what she did to prevent World War I, it happened anyway.

Vivianne discovered that she was unable to alter History the way she’d intended. She found to her dismay that every time she set out to alter a crucial event, quirky consequences ensued and events did not yield to her clever manipulations—as though History had an uncooperative conscience and a predetermined destiny to fulfill.

OK… That’s just me being the writer, subverting the protagonist with obstacles played out in ever-twisting plots and subplots. But, what if…

What if… History (as in any realized reality) is predetermined through its harmonic relationship with other realizable realities? Given that all mass and energy is governed and expressed through frequency, and given that in physics (and music) frequencies exist as multiples of some fundamental frequency; then does it not follow that threads of realizable realities, intertwined around a fundamental path (of history), would move inexorably toward a common destiny?

A recent article I ran across on a writer’s forum discussed how artists tend to mimic each other’s ideas, or come up with the same ideas at the same time. Aside from outright stealing (which happens a lot less than people think), multiple and independent formulation of same ideas is also more common than people think. And it’s increasing. Multiple-independent discoveries (and inventions) have increased in society a thousand-fold since the nineteenth century. Some followers of Jungian thought suggest that this is because the fabric of our society is acting more and more like a neural network, learning, interacting and sharing toward the achievement of a common zeitgeist.

What if… the whole of our society behaves like an autopoietic system, self-organized, adaptive, evolving and tapping into—and possibly influencing—a common super consciousness? One related to a fundamental frequency?

Ray Tomes of the Alexandria City Meeting in 1996 suggested that “the pattern of cycles found in every field of study on earth, in astronomy and also in music are all explained by a simple rule that says that a single initial frequency will generate harmonics and each of these will do the same.”

Why do galaxies and stars form where they do? Toss a handful of sand on a drum and then beat it (not at the centre); you will find that the sand moves to certain places and congregates into predetermined patterns. These are the nodes of the standing waves in the drum. The standing waves are electromagnetic waves (e.g., radio waves, light and x-rays etc). Consider the “predetermined” beauty of natural phenomena. Consider the Fibonacci numbers and the golden mean in nature. Consider fractals and the Mandelbrot Set, quantum entanglement, and Schumann Resonance. Consider synchronicity, autopoiesis and self-organization…

Einstein tells us that, “everything in life is vibration.” Schroedinger’s wave function describes us as vibrating waves.

The normal standing wave created in the Schumann Cavity (the cavity formed by the Earth’s conducting surface and the ionosphere) occurs at a wavelength equal to the circumference of the Earth, and at a base frequency (and highest intensity) of between 6-8 Hz (7.83 Hz). This is called Schumann Resonance Frequency, after the man who formulated it mathematically in 1954 (after Nikola Tesla described it in the late 1800s). Some call this basic frequency the Earth’s “heartbeat” or the “tuning fork” of the planet, suggesting that it generates natural healing properties when living things are entrained to its rhythm. It turns out that all biological systems resonate at this same frequency range. The electrical resonance of the Earth lies between 6-8 Hz. This coincides with alpha rhythms produced by the human brain during meditation, relaxation and creativity.

“Vibrations are dynamic things not unlike living things,” John Keely, researcher in harmonics, adds. “They are active and prolific in their dynamics as are their harmonic offspring. These discrete tones of the harmonics interact with each other… They will in a very natural way mix, merge and divide among themselves just like living cells.”

In “Outer Diverse”, the first book of “The Splintered Universe Trilogy” (Starfire), Galactic Guardian Rhea Hawke speaks with Ka, an alien mystic, about music, frequency and harmony. And something called “the music of the spheres”. Says Ka:

“…The particular tone of the planet’s song is dependent upon the ratio of its orbit, just like the relationship of a keynote to its octave. The cosmic beauty of the octave is that it divides wholeness into two audibly distinguishable parts, yet remains recognizable as the same musical note…We, of course, now know that ratios in frequencies of spectra of elements compare to intervals in a musical chord,” Ka went on, leaning forward on his massive feathered arms. “Given that a pitch of sound is analogous to the color of light, both being caused by the frequencies of their waves, we can characterize entire worlds based on these properties,” he ended, beak-mouth breaking into a beaming grin that showed his round little teeth.  “It was your Kepler—a scientist I believe—who suggested that when planets formed angles equivalent to particular harmonic ratios, a resonance was created both in the archetypal ‘Earth soul’ and in the souls of individuals born under those configurations…He called it a celestial Front Cover ONLY-webimprint,” Ka continued, now leaning forward with his cup in both hands, “and said that in the vital power of the human being, ignited at birth, that remembered image glows. That geometric-harmonic imprint is the music that impels each listener to dance … from the particle to the cosmic. Your own heart finds its shifting harmony between excessive order and complete randomness, encompassing complex variability—a symphony—in its beating pattern. Sound—vibration—is the language of the mind and the secret to creation.”

We are creatures of this planet, co-evolved with Earth’s environment through the helix structure of our DNA and the water coursing through us; this is reflected in our behavior, culture, intelligence and beliefs. Our entire bodies resonate with all other life at a similar frequency as the planet Earth. Our brains in their most “divine” state of creativity, prayer or meditation reflect the same frequency. We are a gestalt culmination of light, wave-pulse, matter and motion resonating with this beloved planet Earth. Our minds, bodies and souls “sing” its choral aria. What is muse if not this wonderful “intent”?

So, which came first? Story or reality?

 

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

 

The Fifteenth International Writers’ and Artists’ Festival / Le XVe Festival International des écrivains et artistes–Quebec

best best group shotOn Friday, June 9th, I drove with friend, songwriter and poet Honey Novick, to the 15th International Writers’ and Artists’ Festival in Val-David, Quebec (June 10th and 11th, 2017). Celebrated artists, poets, writers and singers with an international heritage that included France, Chile, Argentina, Romania, Canada and the USA would congregate at the festival, set in a large house nestled deep in the Maple Laurentian forest.

The mixed Laurentian forest is called the “eastern forest-boreal transition” and includes a varied tapestry of broadleaf (aspen, oak, paper birch, mountain ash and maple) and conifer (pine, spruce and fir) trees.

Nina-fest-close-web

Nina Munteanu

When we reached our destination—a large three-story house surrounded by forest—I took in the aroma of fresh pine and “sweet fern” and spotted Bunchberry (soon to be designated Canada’s national flower), forget-me-nots and lupine carpeting the ground near the house. A young deer, foraging on a shrub’s new leaves beside the house, glanced at us without fear then slipped back into the forest.

I thought the setting ideal for an international festival celebrating the expression of the arts. I was scheduled to talk about my latest book Water Is…”, a personal and scientific journey with water, and to give a lecture on eco-fiction.

Outside-view-web

View outside my bedroom

Flavia Cosma, the originator and organizer of the festival for over a decade, greeted us at the door and in true Romanian-fashion immediately sat us down to eat and drink. After a seven-hour drive (we somehow ended up in Charlamagne, Celine Dion’s birthplace), I was hungry and enjoyed some of Flavia’s signature dishes, varză a la Cluj (cabbage a la Cluj) and salată boeuf (beef salad), made with carrots, parsley roots, eggs, potatoes, beef, pickles and peas mixed with mayonnaise. The view outside my bedroom on the third floor peered through tall firs to a mountain valley and the small village of Val-David. I looked forward to meeting poets, writers, musicians and artists the next day…

 

Day 1: Saturday

HoneyNovickBC-web

Honey Novick

Honey Novick (Toronto, Ontario), poet laureate of the Summer of Love Project 2007 Luminato Festival and winner of the Bobbi Nahwegahbow Memorial Award, opened the festival with an inspirational song.

Composers and singers Brian Campbell (Montréal, Quebec) and Ivan-Denis Dupuis (Sainte Adele, QC) provided additional and stirring song performance.

Louis Hebert

Louis-Philippe Hebert

Quebec author Louis-Philippe Hébert (Saint Sauveur, QC), winner of the Grand Prix Québecor du Festival de Poésie de Trois-Rivières and the Prix du Festival de Poésie de Montréal, read from his novel Un homme discret (Lévesque, 2017). Poet Julie de Belle read several poems, including When the sea subsides, finalist in the Malahat Review. Brian Campbell, finalist in the 2006 CBC Literary Award for Poetry, read from his book Shimmer Report (Ekstasis Editions, 2015).

FlaviaCosma-EarlyYears

Flavia Cosma

Poet and award-winning TV documentarist Flavia Cosma, who received the gold medal as an honorary member by the Casa del Poeta Peruano, Lima, Peru in 2010, nominated for the Pushcart Prize, and whose work has been used in University of Toronto literature courses, read from her collection of poems, The Latin Quarter (MadHat Press, 2015) and Plumas de Angeles (Editorial Dunken, 2008).

Felicia Mihali

Felicia Mihali

Romanian writer Felicia Mihali read from her novel La bien-aimée de Kandahar, nominated for Canada Reads 2013. Romanian author Melania Rusi Caragioiu, member of the Canadian Association of Romanian Writers, read from her book of poems Basm în versuri și poeme pentru copii in Romanian.

Nicole Davidson, the mayor of Val-David, read some of her poetry. Jeanine Pioger, French author of Permanence de l’instant, read a selection of her poetry. Jocelyne Dubois showed her artwork and Romanian artists Carmen Doreal and Eva Halus discussed their artwork and poetry.

water-is-cover-web“Water Is…”: I shared the inspiration and making of my latest book, “Water Is…”, a scientific study and personal journey as limnologist, mother, teacher and environmentalist, which was recently picked by Margaret Atwood in the NY Times as 2016 ‘Year in Reading’ and recommended by Water Canada as ‘Summer Reading’. I discussed how I first conceived the book as a textbook early in my career as a freshwater biologist and how it morphed from one idea into something completely different and why it is my most cherished work to date.

Day 2: Sunday

French poet David Brême gave a workshop on poetry and the cultural hybridization of franco-québécoise (atelier sur la poésie et l’hybridation culturelle franco québécoise), which he had given earlier in Toronto.

couzier_nane

Nane Couzier

Montreal poet from France and Senegal, Nane Couzier, read from her collection Commencements, honorable mention in le Prix de poésie 2016 des Écrivains francophones d’Amerique.

JocelyneDubois

Jocelyne Dubois

Novelist and short story writer Jocelyne Dubois read from her novel World of Glass, finalist for the 2013 QWF Paragraphe Hugh MaLennan Prize for fiction. Laurentian poet John Monette, author of the collection Occupons Montréal (Editions Louise Courteau, 2012) read several poems and Eva Halus, Romanian poet, read from her book Pour tous les Voyages. Chilean poet Tito Alvarado also read his poetry.

NasulTV-claudiuScrieciu

Claudiu Scrieciu of Nasul.TV Canada

Claudiu Scrieciu and Felicia Popa of Nasul.TV CanadaTeleviziunea Libera—the Canadian chapter of Romanian TV in St. Laurent, Quebec, televised aspects of the festival and the closing ceremony. Felicia, who interviewed me for their show, talked with me about “Water Is…”.

naturalselectionEco-Fiction: I discussed how eco-fiction evolved as a genre and its importance, both metaphorically and literally, in the literature of the Anthropocene (with a nod to Margaret Atwood’s 2016 challenge to a college audience in Barrie, Ontario, to write the stories that focus on our current global environmental crisis). I provided examples of ecological metaphor such as Barbara Kingsolver’s Flight Behavior, Michael Ondaadje’s The English Patient, Frank Hebert’s Dune, and Thomas Hardy’s The Return of the Native. Astute questions, initiated by Flavia, led to an animated discussion on our ultimate participation in Nature, co-evolution, cooperation vs competition, soft-inheritance, DNA repair and the role and place of water in virtually all things.

The festival concluded at the Centre d’Exposition (art centre) of Val David with “Les Mots du Monde”, where poets, songwriters and writers performed readings and song to the community. The cultural setting and perfect acoustics provided a true inspiration for Honey Novick’s stirring opening songs—angelic in nature and in voice. I asked colleague Jeanine Pioger to read my essay “Why I Write,” which I had translated into French with help from colleague Betty Ing. The French version appears below.

toast02

Toasting the international festival

After the closing ceremony, Flavia invited participants to a grand dinner party at the festival house featuring authentic Romanian dishes, good wine and stimulating conversation.

The festival was a great success on many levels. Honey Novick astutely thanked Flavia in a Facebook post, “thanks for the wonderful memories, great inspiration, generous hearts and a tremendous weekend.”  I felt a great resonance and synchronicity throughout the weekend. It was as though we all embarked on a dimensional ride together, orchestrated by Flavia, that challenged, fulfilled and enlightened…I spoke English, French and puțin limba română. Foarte puțin… …And the food… OOHLALA!

Mulțumesc, Flavia! A fost minunat!

BrianCambell-ShimmerReportEva Halus-Pour tous les VoyagesLatinQuarter-flavia cosmaun homme discret

 

La raison pour laquelle j’écris

L’écriture est le souffle et la lumière de mon âme et la source de mon essence. Quand j’écris, je vis le moment présent. Je suis dans le moment de la création, connecté au Soi Divin, embrassant la nature et l’ensemble de l’univers fractal.

Je fais quelque chose d’important.

Je me connecte avec vous.

Isaac Asimov a dit : « j’écris pour la même raison que je respire — parce que si je ne le faisais pas, je mourrirais ». C’était aussi vrai quand il était auteur inconnu qu’après qu’il est devenu grand écrivain. Il parlait métaphoriquement, spirituellement et littéralement. Je sais que si je n’écrivais pas, je me priverais mon âme de sa respiration de vie. Il représente plus que la vérité métaphorique ; il est scientifiquement prouvé. L’écriture expressive — que ce soit sous la forme de l’écriture d’un journal, de blogging, de l’écriture de lettres, de mémoires ou de fiction — améliore la santé.

Que vous publiiez ou non, votre écriture est importante et utile. Prenez possession de celle-ci, nourrissez-la et considérez-la comme sacrée. Inspirez le respect des autres et respectez tous les écrivains à leur tour ; ne laissez pas l’ignorance vous intimider et vous faire taire.

L’écriture, comme toute forme de créativité, exige un acte de foi ; tant en nous-mêmes qu’en les autres. Et c’est effrayant. C’est effrayant, parce qu’il faut que nous renoncions au contrôle. Il est d’autant plus préférable d’écrire. La résistance est une forme d’autodestruction, dit Julia Cameron, auteur de The Artist’s Way.

Nous résistons afin de maintenir une vague idée de contrôle, mais au contraire, nous augmentons nos chances de développer la dépression, l’anxiété et la confusion. Booth et al. (1997) ont conclu que la divulgation écrite réduit sensiblement le stress physiologique du corps causé par une inhibition. Nous sommes nés pour créer. Pourquoi hésitons-nous et résistons-nous? Parce que, dit Cameron, « nous avons accepté le message de notre culture… [que] nous sommes censés faire notre devoir et puis mourir. La vérité est que nous sommes censés être prospères et vivre ».

Joseph Campbell a écrit : « suivez votre bonheur et les portes s’ouvriront là où il n’y avait pas de portes avant. » Cameron ajoute : « c’est l’engagement interne pour être fidèle à nous-mêmes et de suivre nos rêves qui déclenche le soutien de l’univers. Alors que nous sommes ambivalents, l’univers nous semblera également être ambivalent et erratique. » Quand j’écris, je vis le moment présent, en harmonie avec le moment divin de la création.

En pleine joie.

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

Limestone Genre Expo—One of Kingston’s Gems

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Nina Munteanu and Halli Villegas

I recently attended the Limestone Genre Expo in Kingston, Ontario. Held at the St. Lawrence College campus—ideally suited to a literary festival—the expo featured panels, readings, and workshops.

The festival was well attended by local, Canadian and international authors, editors, publishers, and readers—all committed to exploring literature, the arts and to having a good time.

Authors included Tanya Huff, Nancy Kilpatrick, Caro Soles, Violette Malan, Rick Blechta, Matthew Bin and Eve Langlais, among many others.

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Science Fiction GOH in 2016

Publishers included Exile Editions, Chizine Publications, Bundoran Press and others. Exile Editions recently published their anthology “Cli Fi: Canadian Tales of Climate Change” in which my story “The Way of Water” appears.

I was Limestone’s Science Fiction Guest of Honour last year; this year I got to relax and I sat on three panels.

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Nancy Kilpatrick

In “Alternative Histories to Cyberpunk“, I was joined on the panel by Matthew Bin, Maldonado Skaff-Koren, Eric Desmarais, Michael Romaric, Dominic Bercier, and A.A. Jankiewicz with moderator Sean Moreland. We mostly discussed the literary device of alternative timelines and unanimously concluded that visionary science fiction that “failed” to predict the future was successful alternative “history”. This theme continued in the science fiction panel.

Cover1_LastSummoner-frontcoverI brought up the notion of history’s quantum properties, a braided flow of multi-dimensional and entangled realities. This served as premise for my alternative historical time-travel fantasy The Last Summoner, which takes place in fifteenth century Poland. On her fourteenth birthday, the baroness Vivianne Von Grunwald discovers that she can change history as an aeon; but she soon realizes that, while she is able to change some disastrous historic event, its entangled “destiny” indelibly moves closer to the original consequence than her intended one: yet another disaster. My scientific approach to alternate history is what excited me to write this, my only fantasy so far among a dozen science fiction novels.

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Caro Soles

In the panel “The Science behind Science Fiction” I was joined by Katherine Prairie, Anita Dolman, Matthew Bin, Lisa Tooey, Kristen Kiomall, and A.A. Jankiewicz with moderator Caroline Frechette. We discussed the utility and risk of using pseudoscience in a science fiction story, a genre known for expectations of accuracy and prescience. In 1979, Ray Bradbury wrote: People ask me to predict the future, when all I want to do is prevent it. Better yet, build it. Predicting the future is much too easy, anyway. You look at the people around you, the street you stand on, the visible air you breathe, and predict more of the same. To hell with more. I want better.”

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Tanya Huff signs one of her books

Depending on whether the story is considered hard SF or soft SF, this level of accuracy in both actual science presented as premise and ability to predict science and technology will vary. Given that science fiction is largely metaphoric, the predictability of an SF story is secondary to the story’s value as metaphor and allegory. The consensus of the panel was that the audience determined the importance of precision and accuracy. In the final analysis, if the story is grounded in its own consistency, anything is possible.

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Wonder Woman (Gal Gadot)

In “Women in Genre” I was joined by Violette Malan, Nancy Kilpatrick, Eve Langland, Alyssa Cooper, Janet Kellogg, and Liz Lindsay with moderator Sandra Kasturi. The banter was by turns fun and edgy, all lubricated with good humour by all participants. As a writer of science fiction and fantasy of which 90% feature a “strong female protagonist”, I brought up the controversy of what, in fact, determines a good female lead in story. Why do so many heroines still provide just a kick-ass version of a male hero? Why are so many female protagonist heroes still defined by the rules of what makes a male a hero? Where are the real women?

Politics south of us aside—along with Margaret Atwood’s all too realistic Handmaid’s Tale (currently playing on Bravo TV), we discussed the recent push-back in Texas on the all-women showing of “Wonder Woman,” which prompted many heated tweets. The Atlantic recently published an article on the film—and surrounding events—entitled “Wonder Woman, Heroine of the Post-Truth Age.”wonder-woman-movie-poster

Wonder Woman is set at the height of World War I, but is otherwise a decidedly modern movie,” writes Megan Garber of The Atlantic. “It stars a woman (Gal Gadot) and treats a man, Steve (Chris Pine), as its damsel-in-distress. It has managed, even before its release, to enrage men’s-rights activists, which is quickly becoming a reliable measure of a movie’s modernity.”

wonderwoman-golden lassoWonder Woman uses a unique weapon, the Golden Lasso, known as the Lasso of Truth—because it compels anyone wrapped by it to reveal the truth.

When William Moulton Marston—scientist and inventor of the polygraph machine— created the Wonder Woman character, he envisioned a warrior who was also an investigator of truth. “Frankly,” he said, “Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.” He believed that a world that gave women more power—politically and otherwise—would be more peaceful, more empathetic, more worthy, writes Garber. “And so Wonder Woman is a work that is decidedly at home, across its dimensions, in the world of 2017—a world that is on the one hand newly recognizing women’s widespread capabilities, but that is on the other deeply anxious about ‘alternative facts,’ about ‘fake news,’ about politically weaponized lies, about falsehoods that are uttered with no seeming consequence. The princess’s lasso, that shimmering metaphor for objective truth, is a symbol of aspiration; seen in another way, though, it is a symbol of despair. Here, in this wobbling weapon, is “wonder” as in awe; here, too, is “wonder” as in uncertainty. Here is a tool of truth that is decidedly ambivalent about its own powers. “How do I know you’re not lying to me right now?” the princess asks the spy. And the only way she can know for sure is to trust, paradoxically, in magic.”

Magic is OK, though. It is, after all, the stuff from which we draw when we write.

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Nina Munteanu, Science Fiction GOH at Limestone Genre Expo 2016

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books.

The Art & Science of World Building: The Tools You Need to Make a Believable World

futistic cityMost fantasy and science fiction novels require major world-building, which involves both real and imagined aspects.

World building spices real physical and social facts with the author’s imagination to create a civilization, a political structure, a culture and zeitgeist as backdrop and influence to story. Writers define world-building as the process of constructing an imaginary world, usually associated with a fictional universe.

Popularized at science fiction workshops during the 1970s, the term describes the development of an imaginary setting that is coherent and possesses a history, geography, and ecology that is rich, unique and resonates with the story’s premise.

The list below provides things to consider when first building your world:

  • The world (e.g., on Earth or not)
  • Physical and historical features (climate, geography, resources)
  • Magic and magicians (e.g., rules of magic, technology)
  • Peoples and customs (e.g., language, ethics and values, religion)
  • Social organization & structure (e.g., government, politics, conflicts, fashion, entertainment)
  • Commerce & trade (e.g., industry, transportation, communication)

Science vs. Art In World-Buildingthe-city-cgtrader

If a novel is a historical fantasy set on Earth, science is not a critical part of world building; if a novel is set on some probable planet in the Andromeda Galaxy, then science becomes an integral part. But, in both cases the writer needs to do his or her research. In the case of the historical fantasy, world building will be based on accurate historical information, even if an alternate history is being written.

Part of the reason people read historical epics is to learn more about that particular civilization and time period. The reader trusts that the writer will give him or her the facts on the world, while taking liberties on the remaining story elements. Similarly, a science fiction reader opens the first book in Larry Niven’s Ringworld series with the expectation of learning about a made-up world based on accurate principals of science.

A lot of science fiction is written by nonscientists. That said, many science fiction readers— particularly those who enjoy hard science fiction—expect your science to be not only plausible but somewhat proven and your premise to be based upon sound scientific principle. They expect your research to be impeccable because they are expecting to learn something—in science.

World-Builder’s Disease? 

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“City of Woven Streets” by Emmi Itaranta

“Fantasy writers have a penchant for working up histories of imaginary empires that can run for hundreds of pages, full of maps and chronologies and genealogical trees a yard long,” says Ansen Dibell, author of The Elements of Writing Fiction: Plot. “Similarly, science fiction writers can fall in love with their hardware and want to show it off,” he adds and describes this as a kind of narrative cancer, a “World-Builder’s disease.”

Most writers who world-build keep extensive files of background information on their worlds. In some cases, these can be published as companions to the main book series (e.g., J.K. Rowling’s books on Quiddich or magical creatures, which most certainly came from her extensive background notes). Dibell’s point is that this information doesn’t belong in the main book, where it can interfere with the process of storytelling. It becomes “info dump”, which is often very static, lacks drama, and proves ultimately boring.

Tying Your World to Theme and Plot

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“Nineteen Eighty Four” by George Orwell

What’s important to remember is that the world you build is part of the story. It isn’t just a lot of “interesting” detail. The world you build, like a character in your story, plays a role in defining and supporting its theme. The major qualities of your world are, therefore, best derived for plot and thematic reasons—which come from “story”. The rest—the details—are things you can find in books, websites or get from experts in your local university, etc.  Don’t let science intimidate you; but ensure that you get it right by using your resources and verifying your information with an expert. Use your local libraries, universities, colleges, and online resources. Interview scientists, technical people and other writers. That’s part of being a writer too.

 

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