Fall 2018: WordWorks: Connections

BRITISH COLUMBIA’S MAGAZINE FOR WRITERS

FEDERATION BC WRITERS

FALL 2018 $6.95

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CONTENTS Donna Barker

07

Presenting for Free at Conferences: Why Bother?

Janine Dorrell

09

The Care & Feeding of Poets

Naomi Beth Wakan

11

Make Like a Poet

Chelsea Comeau

12

First Place, Flash Prose 2018

Chris Hancock Donaldson

14

An Interview with a Winner

Shaleeta Harrison

16

Festivals and Conferences in British Columbia

Caroline Fernandez

19

How to Make Blogging Pay

Cadence Mandybura

21

Grant Writing: Why Me, Why This, Why Now?

David Carson

23

Espresso Book Machine

Alfred Cool

24

How Much Time Do I Need?

Emily Bourke

25

How to Choose an Illustrator For Your Childrens Book

Trevor Carolan

28

Lorna Crozier Accepts George Woodcock Award

Christine Lowther

30

Finishing Unfinished Business

Gargi Mehra

32

A Writer's View of the Submission Lifecycle

Doni Eve

33

Branding Yourself as a Writer

Valorie Lennox

34

The Intrepid Victorians and their Amazing Machines

Melanie Denys

36

Afterword: A Note on Public Speaking, For Writers

WORDWORKS IS PROVIDED FREE, TRIANNUALLY, TO MEMBERS OF THE FEDERATION OF BC WRITERS. IT IS AVAILABLE ON OUR WEBSITE & IN BC LIBRARIES, SCHOOLS, AND HISTORICAL SOCIETIES. WE ACKNOWLEDGE THE FINANCIAL SUPPORT OF THE PROVINCE OF BRITISH COLUMBIA TO JOIN THE FBCW, GO TO BCWRITERS.CA

Fall 2018 ◆ WordWorks ◆ Page 1

CO N TR IB U T GARGI MEHRA

NAOMI BETH WAKAN

VALORIE LENNOX

Gargi is a software engineer by profession, but a writer at heart. Despite the best efforts of her family and friends, she writes fiction and humor pieces in a determined effort to unite the two sides of her brain in cerebral harmony. Her work has appeared in several online avenues and prestigious Indian magazines and newspapers.

Find her at twitter.com/gargimehra

Naomi Beth Wakan was the inaugural Poet Laureate of Nanaimo (2013-2016). She has published over 50 books. Her essays are in Late Bloomer—on writing later in life; Composition: notes on the written word; Bookends–a year between the covers; and A Roller-coaster ride— Thoughts on aging (all from Wolsak and Wynn).

Her poetry books include Sex after 70 and other poems and And After 80… (both titles from Bevalia Press). Some Sort of Life (2014) is her recent book of memoirs, and Poetry That Heals (2014) is a record of her life as a poet. A Gabriola Notebook (2015) is a homage to her small island.

Naomi is a member of The League of Canadian Poets, Haiku Canada and Tanka Canada. She lives on Gabriola Island with her husband, the sculptor, Elias Wakan. naomiwakan.com

Valorie Lennox is a Nanaimo-based writer, self-confessed nerd, graphic designer, and web developer. She was a journalist for 20 years, working on newspapers and magazines and picking up regional and national awards for articles/editorials. Recognizing that print journalism was a sunset industry, she switched to technical writing and then earned a diploma in web development. For the past 17 years she has worked online and in corporate communications. Her interests include history, calligraphy, and letterpress printing, so she was delighted to dive into a series on the history of print, from Gutenberg to current boutique and artisanal print shops. Her chief weakness is Shetland Sheepdogs (Shelties), who have trained her in a variety of dog sports.

CADENCE MANDYBURA Cadence Mandybura is a writer and editor based in Victoria, B.C. Her fiction has appeared in FreeFall, NōD, and Gathering Storm magazines, and her non-fiction in a range of publications, including Calgary’s now defunct Fast Forward Weekly, WestJet’s in-flight magazine, and The New Indian Express. She currently works in communications for the B.C. government, but learned a thing or two about grants through working for Calgary Arts Development, the city’s municipal arts funder.

MELANIE DENYS Melanie Denys is a writer and former Toastmaster from Victoria, BC. She enjoys writing in a technical environment for her day job, while fulfilling her creative side with humourous poetry and accompanying illustrations in her spare time. A member of the Sooke Writers’ Collective for over five years, she has been included in a number of the group’s annual anthologies.

TREVOR CAROLAN An early 1980s co-founder of the FBCW, Trevor Carolan has published many books of non-fiction, poetry, a novel, translation, interviews, anthologies, and literary journalism. They include Giving Up Poetry: With Allen Ginsberg at Hollyhock, and Return to Stillness: Twenty Years With a Tai Chi Master. His forthcoming film Powerground is based on the acclaimed eco-lit collection Cascadia: The Life and Breath of the World that he guest-edited in 2013. He teaches writing at University of the Fraser Valley in Abbotsford, and gave his first Canadian reading at the Literary Storefront.

DONNA BARKER Donna Barker is a published author, career technical ghost-writer, writing coach, and co-founder of The Creative Academy, an online school that helps writers at all stages on their path to publication. Her novel Mother Teresa's Advice for Jilted Lovers won the Chatelaine award for best Mystery/Suspense in Women’s Fiction and was nominated for a Whistler Independent Book Award. She is currently working on a non-fiction book in the gonzo journalism-style called Girls Who Get Themselves in Trouble.

Learn more or say hello at DonnaBarker.com.

Page 2 ◆ WordWorks ◆ Fall 2018

O RS ALFRED COOL

CAROLINE FERNANDEZ

Alfred Cool has written 6 novels comprising his BC Series. Since 2010, he has won awards in short story contests, has published e-fiction, and is published in three Canadian anthologies.

He attended Simon Fraser University to pursue English as his major. After logging, Al enjoyed a lengthy career as a computer systems analyst and taught privately and as a college instructor. He is a member of the Vancouver chapter of the Canadian Authors Association and the BC Federation of Writers. He writes extensively and intimately about his inspiration and life and travels on the coast of British Columbia.

Caroline Fernandez is the creator of Parent Club, a multiple award winner as one of Top Toronto Mom Blogs and Top Family Blogs. Caroline is also the author of two bestselling children’s books: Boredom Busters (Cico Books 2014 – Silver Birch Non-Fiction Honour Book Award) and More Boredom Busters (Cico Books 2015).

Tweets: @ParentClub Instagram: @parentclub Website: parentclub.ca

JANINE DORRELL Janine Dorell is our new advice columnist. She lives in a corner of the FBCW ‘office’ and could be you if you have an idea for helpful tips or advice she can share with members in a future column.

CHELSEA COMEAU Chelsea Comeau is a freelance writer and editor whose work has appeared in CV2, Freefall, and Room magazine. Her chapbook What You Leave Behind was published by Leaf Press, and she is currently at work on a full-length manuscript of poems.

DONI EVE Doni Eve is a former journalist and editor and has worked in Ottawa, Montreal, Regina, Victoria and Sooke. She has also worked in social marketing for the Province of BC and volunteers to help local groups and writers with marketing, PR and promotion. You can find tips and tools on social marketing on her site: Saseenos. com. As an emerging fiction writer, she draws on Vancouver Island’s characters and settings in short fiction published in three anthologies from the Sooke Writers’ Collective. She looks forward to transitioning to writing novels.

EMILY BOURKE

COVER ARTIST & CONTRIBUTOR A resident of Vancouver Island, the natural splendour of her home has, and continues to inspire Emily's art and writing. In addition to being a member of the Federation of BC Writers, she is also a member of the Society of Children’s Book Writers and Illustrators, and the Nanaimo Arts Council. Having honed her artistic practise in the Visual Arts major at Vancouver Island University, Emily subsequently began her career as an illustrator. Working in gouache and ink, Emily's colourful illustrations leap off the page.

Her work focuses on telling stories that are within everyone.​Through her vintage and retro inspired artwork, she evokes a sense of the natural world, the past, and fantasy.

Emily Bourke, 2018, "Telephone"

Fall 2018 ◆ WordWorks ◆ Page 3

WordWorks is a Publication of the Federation of BC Writers

2014 Bowen Rd, Nanaimo, BC V9S 1H4 | bcwriters.ca © The Federation of British Columbia Writers 2018 All Rights Reserved

ISSN: 0843-1329

WordWorks is published three times a year FBCW MEMBERSHIP RATES Regular: $80/year | Senior: $45/year | Youth: $25/year

Hello, Writers,

T

here's a new gelato shop in Nanaimo, with floor to ceiling white tiles, and copper pipes holding up small shelves. The owner is trained in Italy, and they make a mint stracciatella gelato that really tastes like mint. It tastes as if you went to the garden and pulled a handful of fresh leaves off of a branch. Across the road, a cafe serves the best green curry I've ever tasted, with prawns fresh from the docks three blocks east.

What I'm trying to say is that there is no reason to ever leave British Columbia—we have amazing international options everywhere here, and Nanaimo is only the sixth largest city in the province—go to Vancouver, and you can find anything you can imagine. But, I'm leaving anyways.

While you're reading this, I could be on a fourteen hour flight over the Atlantic Ocean, or possibly eating gelato in Italy. Regardless, I'll be far away from my office for most of September, enjoying a three-week honeymoon in Europe, and you'll instead find our new intern, Katelyn Foote, available to assist you.

I'm not just the WordWorks editor, but also the Executive Director for the FBCW, so it's a big undertaking, leaving for the better part of a month, but we're leaving the magazine and the organization in great hands. Myself, the board and our volunteers have been planning for this for over a year.

But, let's talk about this issue for now. This issue of WordWorks is about building connections. You build connections with other writers through festivals and conferences, you build business connections when you partner with illustrators, and you build strong (though less tangible) connections with readers through your writing. Consider the connections with the world as you write, as well—the connections between subjects and characters.

I hope you can connect with the articles in this issue and find some value in them, ideas to relate to your own writing.

Shaleeta Harrison

FBCW BOARD OF DIRECTORS: President: Ann Graham Walker Co-Vice Presidents: Doni Eve & Adriane Giberson Treasurer: Janice Meeks Secretary: Sheilagh Simpson Regional Representatives: Chris Hancock Donaldson (Islands) Carine De Kock (Sunshine Coast) Norma Kerby (North) Keith Liggett (South East) Barbara Drozdowich (South West) Alex Boldizar (Greater Vancouver) Directors at Large: Emily Olsen, Jacqueline Carmichael, Cynthia Sharp, Luanne Armstrong ADVISORY COMMITTEE J. J. lee, Steven Price, Esi Edugyan, Alan Twigg, & Gail Anderson Dargatz, Ann Tenning, Betsy Warland WORDWORKS STAFF Managing Editor: Shaleeta Harrison Business Manager: Sherry Conly Visuals Editor: Chris Hancock Donaldson FBCW Board Advisor: Ann Graham Walker Editors: Doni Eve, Chelsea Comeau, Ellen Niemer, Jacqueline Carmichael, Barbara Pelman Cover Artist: Emily Bourke

Submissions: Content of WordWorks Magazine is, with very occasional exceptions, provided by members of the Federation of BC Writers. If you would like to write for WordWorks, please visit bcwriters.ca/wordworks/submit

Advertising: WordWorks is pleased to advertise services and products that are of genuine interest to writers.

For information about advertising policies and rates, see bcwriters.ca/WordWorks/advertisers

Page 4 ◆ WordWorks ◆ Fall 2018

ANN GRAHAM WALKER

D

ear Writers,

I hope you were fortunate enough to have a wonderfully escapist summer, and with time for writing! A big thank you to all the people who have responded to our emailed request for feedback about the Federation of BC Writers. I hope you don’t mind that we plan to send those out with some regularity, to be sure there is a way for us to hear your ideas and your concerns.

The fun thing about being on the Federation’s board is getting together with passionate and dynamic people and think-

Fall 2018 ◆ WordWorks ◆ Page 5

ing up cool and/or interesting ways to try and help writers. (Working creatively within our scope of affordability and staff resources). We keep coming up with stuff.

The hard part is getting the word out so you are aware the tools are there for you, and how to find them. Did you know about our member discussion forum, for instance? We get so much email from writers who really just want to be able to consult other writers about some aspect of their process. The membership discussion forum can become a wonderful place for those conversations (if people start using it... right now I think it may be still more a matter of potential). The professional directory is growing and we’ve had feedback from people who have found work through the directory, so we know it is working. I’m excited about those two features and excited that Vancouver poet and writing teacher, Cynthia Sharp, has agreed to be our new Blog editor. (She is interested in hearing your submission ideas).

And now let me tell you about our brand new features. Aside from our new membership software, Wild Apricot, that promises to do extra things for us, we have just rebuilt the provincial writing events listing section of our web page. There is a form there for you to submit with the details of your event and we will post it. As BC’s provincial writing organization, with around 800 members in all genres, and a lot

of traffic on our web page, we hope to create a centralized provincial literary arts register that will serve members and non-members alike. (This project is in search of a couple of somewhat tech savvy volunteers, BTW, so please let us know if you are available to help).

Also, we know from your feedback that one of the most helpful things we can do is help you promote your work. So Shaleeta is currently manually building a member Book Market on the web page, where people will be able to click on your book cover and buy it. The web traffic we draw will become a direct benefit to our members in the catalogue.

These are perks using resources we already have. Maybe you have ideas for other things we can do.

Ann Graham Walker President Federation of BC Writers President@bcwriters.ca

SHALEETA HARRISON

* COMMUNICATIONS@BCWRITERS.CA

TODAY'S TOPIC: HOW WE HELP YOU MARKET YOUR BOOKS This section provides information about accessing and getting the most out of memberships. The topics are compiled from the most common problems and questions that we see. Let us know* if you'd like something specific tackled!

One of the most requested services we get is for book marketing. The FBCW actually offers many services to assist you in marketing your book, and we'll be going over them here. We believe self-published books are just as valuable as traditionally published, and all opportunities we mention here are available to both.

BOOK MARKET This is a brand new service that is just getting started. You can find it at: bcwriters.ca/member-books/ Any member can submit a published book to the book market, which is like an online catalogue of member books. Books are sorted by genre, and can also be searched by author. Members can click on your book cover, and buy it! They can also read reviews, a synopsis, and find other books in the series. Don't worry if you don't see your genre yet, because it will be added shortle after you submit your book.

LAUNCHED You can find this feature right here in the magazine! In the back 4-5 pages of WordWorks we list new member books. Do you

have a book that has been recently launched? Visit bcwriters.ca/ launched to read about the requirements (it's very flexible, it just needs to have been recently released) and to see what information we need. You get to print the cover, a 150-word statement, the publishers name, your cover price, and some other basic details.

INSTAGRAM, TWITTER, FB, OH MY! We have accounts on several social media platforms, as well as a provicial newsletter, and several regional newsletters. We're happy to use these accounts to share relevant information about prizes you win, launch events you're holding, and readings you have coming up. Send us posters, news releases, and blurbs to bcwritersnews@gmail.com and we'll do our best to get the word out. Try to send them as early as possible, so that we can include them in several relevant places. We have two new volunteers assisting with these items. Bradley Lars is putting together the provincial newsletter, WriteOn, and Isabella Wang is the new voice of the FBCW social media.

Come back next issue to read about our new tri-annual contests! and email me* any time if you have questions or problems!

Shaleeta Harrison Executive Director 250-741-6514

Page 6 â—† WordWorks â—† Fall 2018

PRESENTING FOR FREE AT CONFERENCES: WHY BOTHER? DONNA BARKER

“W

ait? What? I don’t understand. You’re paying for your hotel and food? And the full conference fee? And they expect you to work? For free? Will they at least cover your gas to drive to Washington?”

That was my husband’s reaction the first time I told him, with exuberance, that a workshop topic I’d pitched to deliver at a writer’s conference, had been accepted.

I admit, had this scenario taken place a decade earlier, at a time when I was being well-paid to travel all over Canada presenting communications workshops to notfor-profit staff and volunteers, I’d have balked, too.

It takes a lot of time to create a high-quality workshop. And it takes a lot of energy to deliver one well. The first time a presenter develops a topic, they can expect to spend at least six hours for each hour of content—time that could be spent writing, or that has to be taken from family responsibilities and even a day job.

And then, there’s the psychological impact. Many workshop presenters I’ve met share my love-hate relationship with this desire to stand and deliver. We’re stressed for days or weeks before the event, never sleep well the night before the presentation, and give our inner critics far too much room to tell us we’re imposters who don’t deserve the stage (even for free).

So why is that hundreds upon hundreds of authors bother with presenting at conferences? Heck, why do so many of us actually jump at this chance to work for free?

I decided to ask four authors, all of whom I met at writers conferences, why they volunteer their time to be workshop presenters.

Kristene Perron (Warpworld.ca), co-author of the Warpworld series, gave me a helluva compelling, “why bother?” answer.

“I have presented free indie publishing workshops in a variety of settings but my most memorable experience was at the Creative Ink Festival in 2015. I made the trip to the coast, from Nelson, BC, both to attend and present at the festival and to visit my sister, Kelly, who was in the Critical Care Unit of Vancouver General Hospital. Kelly

Fall 2018 ◆ WordWorks ◆ Page 7

had been diagnosed with acute myeloid leukemia; a rough time for both of us.

The words “writing community” are easily taken for granted but that’s exactly what kept me going during the worst three months of my life. On the day of my presentation, looking out on a room full of writers eager to learn, and knowing that I was part of the chain of knowledge passed along from person to person, I felt connected and useful. More than one attendee approached me later to say thanks and that I had inspired them, but the reality is I gained as much from them as they did from me. It is no small thing to be needed and to contribute positively to a creative community.

Everyone at my sister’s memorial spoke of her legendary generosity. I intend to carry on her legacy and give my time and knowledge to my community.”

Eileen Cook (EileenCook.com), with 15 traditionally published books to her credit, is so in-demand as an author-presenter she’s now paid for her time to “bother.”

But, she still presents for free when it fits her schedule since the non-monetary pay-off is often so valuable.

Eileen says, “I love writing conferences. They refill my creative well and I tend to leave with a) a renewed commitment to my writing b) excitement for whatever my current WIP is and c) a stack of books that I didn’t need to buy but couldn’t resist.

Speaking at a conference has a number of benefits (not the least being the chance to get over that public speaking phobia) but the opportunity to build relationships is huge. I’ve connected with people that led to blurbs for books, invitations to be in anthologies, and future speaking opportunities.

Hands down the best connection I made led me to join two other writers to create The Creative Academy (ccsCreativeAcademy.com), which is my chance to have a writing conference online every day of the week!”

Jason Lee (FreeTheAnger.com), author of Living with the Dragon, has a very clear reason why he wanted to present at The Creative Ink Festival in 2018. It’s political. It’s

social change. His workshop was not about the craft or business of writing—it was about sharing his story and his passion for educating people about the deep connection between anger and mental health.

Jason says, ”Whether it’s at my author readings or presentations about mental well-being, it’s always a humbling experience to hear how my story brings hope and inspiration to others. It regrettably also reminds me about how much hurt goes unseen. Some people go about their daily lives burying their pain. Much like myself, I hid behind many masks for the better part of my adult life.

When I finally opened up about my stories, I invited others to do the same.”

When I asked John Mavin (www.JohnMavin.com), author of Rage, why he bothers with delivering workshops at conferences—and in a variety of other settings as a volunteer—he detailed a path that took him from being a student with The Writer’s Studio (a year-long Continuing Studies program run through Simon Fraser University), to hosting the program’s monthly reading series, sitting on the TWS Advisory Council, coordinating both the Downtown Eastside Writer’s Jamboree as well as the national First Book Competition, and finally, to mentoring student writers through the Vancouver School Board.

“Author Betsy Warland was the Director of TWS for my time in the program and to say she's been important to my writing career would be an understatement. Not

only did she give me opportunities, which deepened my knowledge of the writing world, she also introduced me to a community that’s been very welcoming and inclusive.

And more importantly, she promoted the ideal that writing can be a supportive art, not a competitive one: we were in TWS to help each other grow, not to establish a pecking order. It's a great attitude, because honestly, writing can be a very lonely task. Being able to share what you're going through with others who understand is really inspiring.

The depth of relationships that can develop—when authors who share a spirit of generosity come together—can be career- and life-changing,” John says.

Layering all of these authors’ thoughts, it seems almost stupidly obvious why we bother to donate our time to conferences.

Most writers don’t invest the thousands of hours and dollars in their craft expecting to make it rich; we do so to share our ideas, to entertain, to educate, and sometimes to encourage readers into taking action. Conferences are just an extension of that same work, but with other writers.

Our tribe. Our community. The people who “get us.”

To find your community. To build relationships. To be of service. And if you’re lucky, to advance your career as a working author. That’s “why bother” presenting at writers conferences. These are reasons even a non-writing partner can appreciate—at least while the price of gas is still under $2 a litre…

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Page 8 ◆ WordWorks ◆ Fall 2018

THE CARE AND FEEDING OF WRITERS: TIPS FOR SUCCESSFUL READINGS JANINE DORELL A GREAT EVENING AHEAD If you’ve invited a writer to read at your reading series or bookclub, you can help the whole visit run smoothly with a little preparation. You probably already have a system: open mic, then featured reader.

Or vice versa. Readers appreciate knowing what sequence to expect, how long they should read, and if they should be prepared for questions.

Even small things can make a difference, like really clear directions to your location, especially if they are from out of town. They may not know when buses run, or that you have to double check ferry schedules if the weather’s dicey. It’s not much fun, for audience or writers, if they arrive out of breath, rain-soaked, and 15 minutes late.

A WARM WELCOME Does your writer arrive to a warm welcome? Sometimes folks are so busy with setting out chairs or checking the mic, that no one pays any attention, and your writer doesn’t even know where the bathroom is.

Your welcome doesn't need to be formal, but someone should say "So glad you could come; looking forward to your reading!" or words to that effect. If you’re busy, just find them a seat, show them where they can display their books. It’s nice if you can get them water (reading is thirsty work). And yes, tell them where the bathroom is. It all only takes a couple of minutes, and you don't want your writer to be wandering about anxiously wondering if the evening is going to go well.

Fall 2018 ◆ WordWorks ◆ Page 9

Sometimes your visiting writer may be nationally acclaimed—but sometimes a novice will be doing a first reading from a first book. It’s exciting, but it can be very stressful, and for many writers, it’s always exciting and always stressful. Your introduction will go a long way towards ensuring a smooth, confident performance.

A RIVETING INTRODUCTION People want to know who is reading to them. When you first book the reading, you can ask your reader to send a short literary bio (say 100-150 words) written in the third person. Then you just have to read that as your introduction. Then ask the crowd to join you in welcoming Writer X, and lead a round of applause.

If you want to up the ante, you can also Google Writer X, and add a couple of comments to personalize the intro. That’s brief, classy, and welcoming.

If your writer has an unusual name, check that you’re pronouncing it properly. If you intend to have a question period after the reading, ask your writer (beforehand) if there’s a particular question they’re comfortable being asked. That way, if there’s a long uncomfortable silence because everyone is a bit shy, you can ask the required question, which usually breaks the ice.

At the end of the evening, thank your writer again and lead a round of applause.

PUSH THE MERCH! ENCOURAGE BOOK-SIGNING AND SALES Your writer will arrive with books and with a great deal of hope, and also with a new book that is probably the result of several years of work. If they are from another town, they have had transportation costs, meals, and accommodation to arrange.

They hope, of course, to make a little money, but above all, your writers are baring their soul to strangers, who they hope will love the work and buy the book.

When your writers arrive, perhaps you have a display spot where they can arrange their books. Help them sell—when you introduce your writer, hold up a copy of the book, and encourage the audience to browse (and perhaps to buy).

Many reading series survive in coffee shops or bars where their “rental” is to remind everyone to buy those beers and nachos.

While you’re doing that, remind the audience that books are for sale too.

If you do this, your writers will love you.

Their publishers will love you. Their writer friends will all want to read at your reading series. And everyone will buy beer and nachos and read happily ever after at the same location.

suggestions for those about to plunge into the poetic life NAOMI BETH WAKAN

A

t 87, and after writing poetry intensely for over 25 years, I am often requested to give advice to budding poets. When asked, usually all I can come up with is “read, read, read” and “write, write, write.”

Hardly fresh counsel. Feeling guilty at being so seemingly unhelpful, recently, I gave the matter some thought and this is what I came up with.

Firstly, I would advise you to make like a poet. Yes, I know poets come in all kinds of shapes and sizes, but there are some basic things most poets do. For example, they usually have announced, at least to themselves, that they are going to focus on poetry as their creative outlet for the next few months/years. They have given validity to their writing by filing their poems carefully and have been sure to back them up. They appear at open-stage poetry readings reasonably cleanly dressed with their poems printed out ready to read (not writ-

ten on the back of an envelope and stuffed into the back pocket of their grubby jeans).

They give their poems and their audience due respect. They read their poetry slowly and clearly in public without first apologizing for its quality, and, if they happen to stumble over a word, they never wince obviously, but just continue as though nothing had happened, because nothing really has happened. Well, that’s enough to go on for a beginning. Now, for the actual writing of poetry, we need astonishment and the unexpected. This doesn’t mean writing it sideways on the page or using an unusual font. It means connecting images and ideas that have never been connected before (at least not by you). You should have surprise and wonder in each poem, that is, you should be surprised and you should be filled with wonder at how you have managed to make the ordinary everyday life around you so startlingly interesting. By

honouring the everyday, you are linking its particulars to universal concerns, and, in the process, realizing your joys and sorrows are no different from those of the rest of humankind’s. Your poems should connect the “inner you” with the outer you, and the best way to do that is to get out of the way.

Go prepare a deep asparagus bed, or start building a stone wall. When you are preoccupied with mundane physical tasks, that’s when the poems will start seeping through.

You are taking on the serious task of telling of things that are there, but which others can’t see.

One does not write because the goldfish play at the bottom of the waterfall, but because not everyone can see them.

When I started my life as a poet, I read other poets, loads of other poets, always

Page 10 ◆ WordWorks ◆ Fall 2018

searching out a voice that was close to what I thought mine might be. When I found a couple, I made them my surrogate parents for my new life as a poet.

Mom and Dad Oh! if only Billy had been my father and Wisawa, my mother, how my poetry would have shone and my small hand been encouraged to move over the page.

Standing barefoot on the lawn with Billy, in the dew-filled morning, how my little voice would have lisped out rhymes about the budding cherry tree, and, in the evening, Wisawa would have filled my small head with legends from the polka past and ideas that went beyond right and wrong. I suspect, however, the meals would have been a little slap-dash, and when I might have wanted Billy, he would not have been there... even if he was.

Fall 2018 ◆ WordWorks ◆ Page 11

The more I wrote, the less I read Billy Collins and Wisława Szymborska, and, as I grew more confident, I placed their books gently in my bookcase, on the shelf reserved for reading when I am really ancient. Oddly enough, often the very first poem you ever write may have the “real” you in it. Then somehow it disappears, and may not surface again until you have explored some rules of poetry forms and written a load more poems. It is as if, in that first poem, the inside you is giving you permission to open up. Keep in mind that you may think that it is you who is moulding the poems, but actually, it is the poems that are making you. That shaping is urgent, for by letting the poems through, you are restoring a certain balance, a certain healing to your being. Poems are written to tell you what you didn’t know, or, at least only had a vague awareness of; things you urgently need to know, and, as a declared poet, at last you have a means to discover what they are.

Don’t’ fuss your poems. Don’t demand they come when they don’t want to, and don’t edit them to death so they bear little resemblance to the first exuberant words that sprang onto the page. Best put a poem away in a drawer for a few months, and, only then, see how it might be improved. Your readers will bring themselves to your poetry, so you

don’t have to spell things out for them. On the other hand, readers usually like to know who is doing what to whom and when and where, so if you are too abstruse, your readership will shrink. Don’t rush to publish, to set up a web-page, to start a blog, to brand yourself, or any of the kind of things writers do when they need to earn a living.

Poetry is not a lucrative career. Best find a pleasant, undemanding job that leaves you loads of time for day-dreaming, or, alternatively, take a job full of risks and dangers, which will confront you daily with major moments of high emotion. Either way, be warned, poetry will be taking over most of your waking life and a lot of your sleeping one too. Last words? I’d better slip “getting used to rejection” in here, and well, actually, “read, read, read” and “write, write, write” are as useful advice as can be given.

All the rest is my meandering on the page.

CHELSEA COMEAU

T

here are no charms, as such, against rattlesnakes and scorpions, but the park’s entrance is a mosaic of cautionary signs. Never travel alone, they say. Refrain from turning over stones or walking the trails at dusk. There are venomous spiders, too, in the corners of the outhouses on the perimeter of the campsite, but only those wearing red hourglasses are meant to be feared. The glossy photographs make each dangerous thing seem so much larger than it really is.

Although she never leaves them outside, she turns her shoes over and knocks them together before putting them on in the morning. Whatever she’s left out has been sifted through by the deer that come in the dark. When she dares the outhouses after the sun has gone down, she sees their eyes in the glow of her flashlight. They travel mostly in threes on slender, perfect legs, and bow their heads to chew at the sparse fists of grass the desert will permit. She finds their prints in the dirt after daybreak.

Before breakfast, she takes her pocket knife from the bottom of her duffel bag.

There are notches she carves into the leg of the picnic table next to her car, a small curl of wood falling away to land in a heap with the others. One mark for each morning woken alone, one for each sunrise hike into

the Drumheller badlands. An inventory of grief.

Walking the narrow trails that plunge into the canyons, she wishes, briefly, that he had died. She doesn’t think it in a cruel way, though, and the idea is always fleeting, like the final moments of a dream. It’s just that death would’ve protected her from all of it. Death would’ve made sure their paths hadn’t crossed in line at the grocery store while she fumbled an armful of avocados and Canesten, and he slung his arm around the hips of a woman she had seen once before at a coffee shop. Besides, there is something far more romantic about being called widow.

In the blue intermission before sunrise, there are no other campers awake and hiking. Stars seem more uncertain here about their burning, what they are meant to do with themselves and when they should fade away. She measures the hour by the way they linger. She drinks terrible instant coffee out of a tin cup, in hot water boiled over the small fire she reignites with cardboard kindling and the embers that have smouldered all night. She ties first her right shoe, then the left. She leaves food scraps behind on the table for the sparrows and magpies.

Her path is flanked by glass cases closed around dinosaur bones, and she has

memorized the words on each plaque. She knows the canyons were once filled with sea water. She can recite the names of each dead monster, the ancient litany of the becoming of birds. She knows that dinosaurs began to curl slowly into what seems an ecstatic choreography after they died. As their muscles dried out and their flesh broke away, their heads flung back towards their tails. This is called the death pose.

As the sun rises, their rib cages gather the purple light and grasp it like they are lanterns, or hands closed around lightning bugs. Sometimes it is impossible to imagine the hugeness of their death, how the earth must have shaken and broken to take them in. She thinks it is fitting that what was left of them could not be contained forever.

Perhaps the bones are all the barren earth has left to give. Sometimes she thinks what it might be like to crawl inside their magnitude and sleep.

There is no real end to the trail she takes. There is only its winding through the canyon and back into the campsite. She no longer requires a landmark to know when to stop and look, but has mastered the timing behind the daybreak’s slow unraveling.

When she reaches the trail’s highest point, moments before the sun cuts open the horizon, she stops. She listens for the hum of

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snakes going back to their cool dens. She wonders if a rattler’s fangs hurt more than the blooming of the venom beneath the skin.

There is no one in the world who knows she is here, except for the few last-of-season campers she passes on her way to the outhouses. Every morning, the number of fire pits glowing with still-hot coal dwindles a little more, like lighthouses grown tired of waiting for ships and shutting themselves off. She doesn’t wear hiking boots, which leaves her with a certain sense of vulnerability. If a snake were to strike her below the ankle bone, there would be no one to collect her, no one to carry her body over the Rocky Mountains, home.

The new sun washes the striated canyons with a red so impossible, she is sure she imagines its brilliance. It pours over the horizon as if the prairies beyond have become so full they simply cannot hold another drop. It floods the campsite and sets

everything, for a moment, on fire.

From where she stands, she can see her car parked next to the blue pup tent she bought at a Canadian Tire on her way out of town. The car is smattered with streaks of dried mud from the parking lot of a rest stop where she spun doughnuts just to feel their vertigo. The noise of stones and gravel in their ricochet was like a xylophone playing the same note, and a cloud of dust rose around her so that even the sun seemed watered down.

In the trunk of the car is the box of all his things that she intends to burn one night when she feels ready. He left little behind, but enough that it felt as if he had not truly gone. Most of the items were gifts she’d purchased for him over time, greeting cards and tie clips and photographs in tarnished frames.

She knows she will have to make the drive home, eventually. She is sure there are a hundred voicemails from her mother

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on the phone she left sitting on her kitchen counter, and probably several more from the receptionist at the job she will no longer have. The brass mailbox fixed to the front of her house beneath the doorbell will be bursting with bills and flyers, and she will ceremoniously open each one of them when she gets there. The house will have grown cold from her absence, the way heat leaves in the night when there is no one around to hold it.

When they ask, why Drumheller?, she will have a hard time explaining. She will not know how to tell them the canyons feel to her like a womb made of dust and stone, that she understands its same fruitless longing. She will not know how to explain to them that the badlands are like every woman she has ever wanted to be: terrifyingly beautiful and ruthless. If she were able, she, too, would carve in her own belly a mighty canyon, open every inch of herself to offer up bones.

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CHELSEA COMEAU WINS THE BC SHORT CONTEST CHRIS HANCOCK DONALDSON DO YOU FIND YOU WRITE ABOUT A PERIOD IN YOUR LIFE OR IS THERE A THEME YOU GO BACK TO OFTEN? I find that my writing tends to visit various periods of my life. Earlier childhood memories that come back to me will sometimes make their way into poems and stories, but I also find myself writing about the present moment. Sometimes elements of my own experiences are woven in with details that are entirely fictitious. I do have a chapbook published about my uncle’s suicide a few years ago, and that’s definitely a topic I go back to often for catharsis.

In terms of themes in my writing, I don’t typically pursue “happy” topics. I explore death and grief a lot, maybe because of my own anxieties around having to cope with those aspects of life.

HOW DOES YOUR WRITING RELATE TO YOUR SPIRITUAL PRACTICE? My writing and my spiritual practice are two of the most important things about me, and when someone asks me to define myself, they’re both right at the top of the list.

I believe that meditative practices can take many forms, and, for me, writing a poem or story that I’m pleased with is a type of meditation. I consider both practices equally important for my wellness and will turn to both during times of struggle. I think that ensuring my spiritual wellness also facilitates a clearer headspace and the ability to prioritize time for writing.

WHAT IS THE MOST CHALLENGING PART OF YOUR CREATIVE PROCESS?

WHAT IMPACT DO OTHER WRITERS HAVE ON YOUR WRITING?

I think simply carving out the time to sit down and write can be a challenge for me.

I work a lot, but making writing a priority is very important to me, so it’s an ongoing process of finding that balance. I also find that I go through periods of having zero inspiration, even if the desire to write is there. I still haven’t figured out exactly how to remedy that, although reading some of my favourite writers or going for walks or day trips somewhere will often help start to bring me out of that place of feeling blocked. I’ve also started to just accept those cycles as necessary times of rest.

Other writers have a spectacular impact on my writing, particularly in person. One of the most inspiring things for me is to attend live readings. I’m also extremely fortunate to know a lot of remarkable writers, and having the privilege to spend time with them in discussion, and to have them look at some of my new work for advice, is an asset.

WHAT IS THE BEST MONEY YOU SPENT TO SUPPORT YOUR WRITING? I’ve attended some really amazing poetry retreats that have had an enormous impact on my writing. My first retreat was with Patrick Lane in Honeymoon Bay a few years ago, and I committed to several more after that. I was also accepted into the weeklong Writing With Style program at the Banff Centre (I believe that program goes by another name now), and my instructor for the week was Lorna Crozier.

During those drier times where I feel generally uninspired, I’ll spend more time than usual reading. I like to browse through literary magazines, but a few favourites like Kayla Czaga, Matthew Dickman, Patrick Lane and Lorna Crozier are often my go-to writers.

WHAT ARE YOU READING RIGHT NOW? I’m currently reading Billy-Ray Belcourt’s This Wound is a World, which recently won the Griffin.

Although it isn't exactly money spent, I’ve also chosen a few times to forego paid work to give myself time to work on writing.

With some careful budgeting, taking time off work was completely worth the time and space to devote to my writing.

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FBCW FACES

1

A look at writers and events around the province! You can submit your photos for consideration anytime: membership@bcwriters.ca 1. Students reading poems that they composed at the Port Theatre event in Nanaimo. These poems were from various Who We Are and Elder Project books.

2. Wendy Morton, Sooke poet, FBCW Honnourary Ambassador,

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and Elder Project facilitator, at the Who We Are Book Launch, beaming at the work of the students and elders.

3. Ann Graham Walker, President of the FBCW, and Lorna Crozier, celebrated poet and Honoured Lifetime member of the FBCW. They were photographed after Lorna won the 25th Annual George Woodcock Lifetime Achievement Award. Read more about this on pg. 28.

4. An amazing lunch prepared by Jackie Borosa and students at Nisga'a Elementary Secondary School during the Elder Project in Nass Valley.

5. Jackie Borosa and Wendy Morton working together during the Elder Project. Jackie Borosa is the organizer of the Elder Project book launch and the school liaison with the Elder Project 6. Kaitlyn Nyce, Shayla Swanson, and Star Nyce, participants of the Elder Project that took place in the Nass Valley.

7. Students Sara Moore and Doran Stephens.

Photo taken at the book launch of the Elder Project at Nisga'a Elementary Secondary School, Gitlaxta'amiks, Nass Valley. These students had poems published in the book, 8. Students from Vancouver Island posing with their newly published books.

9. Shayla Swanson and Camellia Swift at Nisga'a School book launch.

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Fall 2018 â—† WordWorks â—† Page 15

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SHALEETA HARRISON BC is a province full of culture, and there are many festivals and conferences which provide opportunities for writers to gather, learn, and listen. Some are targeted to specific groups or causes, some focus on education, and others exist for the sake of networking and celebrating each other as writers. Below is a list of the major writing festivals in BC, and a short description of what they offer. You probably can't attend them all, but hopefully this helps you plan which ones will be the greatest benefit for you to attend in the coming year.

LITERASIAN

VANCOUVER WRITERS FEST

Five years old now, LiterASIAN is an “annual festival of Pacific Rim Asian Canadian writing.” The festival promotes and celebrates the works of Asian Canadian writers and artists, and has a wide scope of events in the three day festival. There are networking opportunities, panel discussions, author readings, workshops, and more.

A week-long festival that had more than 90 events in 2017.

On stage conversations, readings from famous authors, and more. Outside of the festival are many other events, including writers in classrooms, contests, and more!

Literasian.com September in Vancouver

WORD VANCOUVER

wordvancouver.ca/ September in Vancouver

The festival runs from a Tuesday to a Saturday, taking place around town during the week, and closing with a street festival at the downtown library on the Saturday. With a ton of booths, readings, presentations, and workshops, it’s an inclusive event all week long

VICTORIA FESTIVAL OF AUTHORS Victoriafestivalofauthors.ca September in Victoria

The Victoria Festival of Authors celebrates books, writers, and readers through workshops, master classes, and discussions.

The festival of authors represents poets, fiction, and creative non-fiction writers, among other categories.

Writersfest.bc.ca October in Vancouver

SURREY INTERNATIONAL WRITERS’ CONFERENCE Siwc.ca October in Surrey The SIWC is a professional development conference in the lower mainland that offers over 80 workshops, master classes, blue pencils, pitch sessions, a trade show, author signings, and more. Besides the informative sessions there is a theme banquet, awards presentations, and more.

NORTH ISLAND WRITERS CONFERENCE cvwriterssociety.ca/conference/ January in Courtenay

The Comox Valley Writers Society and North Island College (NIC) have begun the tradition of a two-day festival on the NIC campus. The event involves book sales, keynote speeches, various workshops, and panel discussions. There are many opportunities to socialize and network, and refreshments are available. Registrants can attend up to three of fifteen workshops on the Saturday afternoon.

WHISTLER WRITERS FESTIVAL Whistlerwritersfest.com October in Whistler

Running since 2002, this festival runs for four days in multiple venues in Whistler. There are nearly two dozen reading events and workshops, many with a thoughful and fun twist, including beverages and meals.

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WORDSTHAW WRITERS FESTIVAL malahatreview.ca/wordsthaw/ March in Victoria

A weekend festival in Victoria, this event opens with an evening of readings, and leads into a day of panels on various topics. The last day is a master class with limited registration.

CHERIE SMITH JCCGV JEWISH BOOK FESTIVAL jccgv.com/art-and-culture/jewish-book-festival/ February in Vancouver

The Jewish Book festival is a 4-day cultural event that can attract up to 5000 attendees. The event welcomes all Jewish writers, or non-Jewish writers with an interest in Jewish subject matter. Previously held in November and December of each year, and lasting up to a week, the festival will now be held in early February, and run for five days. Events include readings, a gala, book exchanges, and more. This is a great event for networking, and learning more about Jewish literature.

GALIANO LITERARY FESTIVAL Galianoliteraryfestival.wordpress.com February on Galiano Island

The Galiano Literary Festival runs through a February weekend, with dozens of different events, from workshops, to panel discussions, and author readings. They will be running for the 10th year in 2019. There are also receptions, lunches, and an authors’ gala dinner.

WORDS ON THE WATER Wordsonthewater.ca March in Campbell River

A two-day festival in March that opens with a catered panel discussion, leads into readings for the rest of the weekend, and ends with a catered literary cabaret. Both opening and closing events also have a no host bar, and local muscial talent.

GROWING ROOM: A FEMINIST LITERARY FESTIVAL roommagazine.com/growing-room-2018 March in Vancouver A four-day feminist literary festival, Growing room is sponsored by the magazine Room. Many events are by donation, with gifts being offered to generous donors. There were well over 40 presenters in 2018. The events include an opening party with live music, workshops, panels, and manuscript consultations, all held in a variety of downtown Vancouver venues.

Fall 2018 ◆ WordWorks ◆ Page 17

MISSION WRITERS AND READERS FESTIVAL

mission.ca/event/tenth-annual-mission-writers-readers-festival March in Mission A one-day festival in Mission, BC, this festival is held at the University of the Fraser Valley, and provides workshops, networking opportunities, and readings. 2019 will mark 11 years that this festival has been running.

LIT FEST NEW WEST Litfestnewwest.com April in New Westminster

A three day festival in New Westminster, Lit Fest New West is an April festival that has a history of being free, and providing open mic nights, and slam poetry readings. In 2018, this festival partnered with the FBCW Spring Writes Festival to create the New West Festival of Words—a larger event with some paid workshops, and a wide variety of content, including blue pencil sessions.

NORTH SHORE WRITERS’ FESTIVAL northshorewritersfestival.com/ April in West Vancouver

A celebration of Canadian literature, entering its second decade. This festival is put on by the North Shore Public Libraries, and runs for two days in late April. It is a completely free event, and includes a book fair, author readings, and a reception, as well as several workshops.

SIDNEY LITERARY FESTIVAL sidneyliteraryfestival.ca/ April in Sidney

There isn’t much information available about this festival, but it is planned for April 2019, and it ran in 2017, and in 2015. It is touted as a celebration for readers and writers, and provides photos of the past successful events.

BOOKFEST: CHILDREN’S BOOK FESTIVAL bookfest.ca May in Nanaimo

Bookfest is a day-long celebration in May, held in downtown Nanaimo, BC, on Vancouver Island. It is festival made for children and adults alike, and has been running for three decades.

It exists to inspire youth through literature and art, and brings authors and illustrators from all over Canada to read and present.

SPRING WRITES FESTIVAL

DENMAN ISLAND READERS AND WRITERS FESTIVAL Denmanislandwritersfestival.com July on Denman Island

This festival is going into it’s third year now, and it’s second year in Nanaimo. In 2018 it took place in New Westminster, and it has been described as a travelling conference, put on by the Federation of BC Writers. There isn’t much that doesn’t happen at Spring Writes. There is a publishing fair, a panel discussion, workshops, master classes, networking events, open mics, blue pencil sessions, and more. The FBCW is committed to continuing this festival in some capacity each year.

This festival is informal and educational, lasting four days on Denman Island in July. The event runs from a Thursday to a Sunday, and incorporates readings, performances, a panel discussion, and several workshops. Meals can be reserved ahead of time, and are served in the village center. The festival has been running since at least 2002, and has always brought in notable authors to present to the crowds.

ST. EUGENES WRITERS CONFERENCE

Emlfestival.com July in Nelson

bcwriters.ca May in Nanaimo

steugene.ca/en/events-and-offers/st-eugene-writers-conference-2018 May in Cranbrook The St. Eugenes Writers Conference exists to gather writers together to work on their craft. The May festival includes three days of events, with workshops, social meals, and panel discussions.

Throughout the year, the organization hosts other workshops.

WORD ON THE LAKE WRITERS’ FESTIVAL wordonthelakewritersfestival.com/ May in Salmon Arm

Running for one weekend in May, Word on the Lake provides dozens of events, including workshops, author signings, master classes, draws, a banquet, and panel discussions. This festival has been running for at least four years, possibly longer. It is hosted by the Shuswap association of Writers.

WHEN ARE THE FESTIVALS? JANUARY/FEBRUARY MARCH APRIL MAY/JUNE JULY/AUGUST SEPTEMBER OCTOBER NOVEMBER/DECEMBER

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ELEPHANT MOUNTAIN LITERARY FESTIVAL

A four-day literary festival in BC’s Southeast, EMLF is a varied event. In 2018 there were events for both youth and professional writers, and even a literary pub crawl! The opening gala included a beer tasting, and live interviews of award winning writers.

Panel discussions seem to be the focus of EMLF, but there are also workshops for youth, blue pencil sessions, and many fun activities.

SUNSHINE COAST FESTIVAL OF THE WRITTEN ARTS Writersfestival.ca August in Sechelt Canada’s longest running summer gathering of Canadian writers and readers. Four days of readings, interviews, booksignings, and discussions.

WHERE ARE THE FESTIVALS? GREATER VANCOUVER VANCOUVER ISLAND OTHER ISLANDS KOOTENAYS SECHELT SALMON ARM WHISTLER MISSION

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A SUPPLEMENTAL REVENUE STREAM FOR WRITERS:

HOW TO MAKE BLOGGING PAY CAROLINE FERNANDEZ

N

owadays, writers work in multiple revenue streams as a matter of keeping their business afloat. Ghostwriting, creating marketing content, reporting, contributing, consulting...the list of alternative income ideas for writers is extensive. But have you thought of blogging? From bringing in extra coffee money to full-time work-from-home pay, blogging has many opportunities for supplemental income. Here is how to make blogging pay…

TYPES OF PAID BLOGGING OPPORTUNITIES Note: Readership/follower numbers are key for how much you earn. The bigger follower and reach numbers—the more you can charge.

SPONSORED POSTS: rates can vary between $45-$1500 per post. Typically, a sponsored post contains a narrative writeup with brand messaging/call to action, two to three original photos/images and links to a brand’s website. Narrative posts “tell a story” with a non-pushy inclusion of the brand’s key messaging or product/service news. For a sponsored post, you want to craft a piece which is relatable to your readers and your blog. Brands don’t want straight-out advertorials or copy & paste from the information they provide you. Use your talent and skills to create a dynamic feature. Sponsored posts usually include social media promotion to promote the post along with use of a specific campaign hashtag. Brands may request urls of posts, Google Analytics of posts, screenshots, and selected reader comments of the post for reporting purposes.

SOCIAL MEDIA PROMOTION: rates can vary between $25-$200 per social media post. The most popular social media platforms are: Twitter, Facebook, Instagram and Pinterest.

Brands may request tagging their respective social handles and usage of campaign specific hashtags in your post. They may also request a trackable link, Facebook insights, tweet activity, Instagram insights or Pinterest analytics of the post(s) for reporting purposes.

AMBASSADORSHIPS/EVENT HOST/SPOKESPERSON: ambassadorships, event hosts, and spokesperson roles can be lucrative (rates are upwards of $2,000 per gig) however these opportunities are few and far between. For these jobs, brands leverage your media knowledge and blogger authority to represent their campaign. Requirements can include but are not

Fall 2018 ◆ WordWorks ◆ Page 19

limited to: using your photo and quote in a print or digital marketing campaign, asking for guest posts on third-party or brand sites, video testimonials, social media takeovers, asking you to participate in a media junket (may include travel), being an evangelist/host for a brand’s publicity event. Sounds dreamy but you have to consider the time, effort, and campaign life of these jobs when you negotiate at compensation.

ADS AND AD NETWORKS: rates vary between ads and ad networks. You can either sell ads direct to brands (where you sell leaderboard and/or sidebar adspace) or place ad network code into your blog widgets and the ad network populates the ad space itself. With direct ads—you set your own price (research what is competitive for your reach numbers). With an ad network you typically are paid per 1000 impressions or per click.

TRAVEL OPPORTUNITIES: Meals, accommodation, or attraction entrance is provided to help you with your experience and review. Brand may request same deliverables as in sponsored post.

PRODUCT REVIEWS: You receive product to evaluate, review and keep in exchange for post. Brand may request same deliverables as in sponsored post.

Note: it is advisable to discuss, with your financial adviser, how to account for paid and product for post compensations regarding tax planning.

TIPS ON STARTING Define your blog category. If you love cooking then maybe a food/recipe blog is for you. If you have a talent for gadgets then you might consider a tech blog. If you love to wander then start a travel blog.

Once you define your blog category—look at the blog trends— and figure out how to fill a gap.

Let’s take the example of a travel blog. There are a million travel blogs out there. Why will readers want to read your travel blog?

Why will brands and PR companies want to work with you for travel related promotions?

Consider how you will populate your categories. Let’s Go Somewhere: What to pack in your carry on. Let’s Go Somewhere: 5 Things to do in Vancouver. Let’s Go Somewhere: 7 Beach Resorts You Need To Know About.

Any one of these articles can be your cornerstone content of your blog with sweet SEO opportunities. They are also the type of content examplesPR agencies and brands want to read.

FINDING AND WORKING WITH PR COMPANIES AND BRANDS FOR PAID BLOGGING

Example: Blog name: Let’s Go Somewhere What makes this blog different: Let’s Go Somewhere focuses on family travel on a dime

ELEVATOR PITCH VIA EMAIL. Get media contract info (available on press releases and/or brand sites). Send your pitch; including an introduction of your blog, ways in which you can partner, why you are the perfect partner for them, and provide samples of your work. A media kit is also a valuable tool to attach to a pitch (free and paid blog media kit templates are widely available for on the web for customization).

Next, buy your domain and register it. Easily done with stepby-step prompts through a domain host/seller. You will have to decide whether you want a .com or .ca domain (or you could buy both!).

DM. Direct message your potential partner on social media.

Never, ever, pitch them in public on social media (that’s plain spammy). DM for the media department email address and then elevator pitch via email.

At this point, you should also swing over to your favourite social media platforms and grab the @NAME of your blog. It’s good for cross-platform branding if you have the same blog/social media handles. If “@LetsGoSomewhere” is taken you can create a variation like @LetsGo or @LGS or even @Chris_Go.

ASK TO BE ADDED TO PUBLIC RELATIONS’ DATABASES. Many press releases have public relations’ account contact info at the bottom. Use this as the contact to ask to be added to the media database of that public relations firm.

Next, you will want to set up your blog. Your blogging choices are blogger and Wordpress.

Both blogger and Wordpress have professionally-designed templates and plugins. Both have free versions. Both have endless tutorials on Youtube should you wish to customize your blog template.

CREATE YOUR BLOG CONTENT You need the content in order to get readers. And you need readers in order to generate income. Create the cornerstone content which will be the foundation of your blog.

NETWORK. Network at events/sign up to blogger/influencer networks.

SELF-PROMOTE. Include a “your ad here” image on your blog.

Include a “work with me” page on your blog. Send out self-promoting posts on social media sharing you are looking for new partnerships.

Blogging can be a real income opportunity for writers. In addition, it can compliment your writer goals because in blogging, you have the opportunity to network with brands and agencies as well as develop your digital media skills. As magazines and newspapers fold in the current economy—digital media is on the rise. Rise with it.

Think: 500 word featurettes and tip sheets. Informational pieces which gives something to the reader (and thus gives them a reason to come back).

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GRANT WRITING: WHY ME, WHY THIS, WHY NOW? CADENCE MANDYBURA

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ho doesn’t love a little funding? There are plenty of grant opportunities out there for writers: funding for projects, research, professional development, travel and touring, and emergencies. Arts grants are available at all levels of government, as well as through foundations.

The opportunities are there, but clinching the funding is a little harder. With acceptance rates commonly at 30% or lower, applying for a grant can be daunting. The good news is that grant-writing is a skill that can be developed like any other.

START POSITIVE, STAY POSITIVE Begin by checking your perspective on the whole granting system. First of all, that grants are available at all is proof that society values the work of writers. Right now, funding for the arts is actually increasing, with the provincial government increasing support for the BC Arts Council by $15 million over the next three years, and the federal government doubling the budget for the Canada Council for the Arts Second, the process of applying for grants, regardless of the outcome, will benefit you. “You should always answer, ‘Why me, why this, why now?’” advises Carle Steel, program consultant for the Access Copyright Foundation, which provides a range of grants supporting publishable Canadian works. “If you answer those things for yourself, it helps you with your project whether or not you get funding.” Grants are an exercise in planning, budgeting, and answering key questions about your work.

Finally, submitting grant applications is an opportunity for your work to be seriously considered by well-informed peers. If you don’t get the funding, you can get something almost as precious—professional feedback. Response letters often include notes on your application; for those that don’t, it’s

worth calling the granting organization to see if they can share any feedback. You may learn that the jurors were supportive of your work and that your project only narrowly missed receiving a grant. Feedback can provide you confidence in key aspects of your project and show you how to strengthen your application for the next round. A little encouragement can go a long way!

Think of a grant not only as dollars up for grabs. Think of it as a learning and development opportunity, a method of project planning, a chance to get your work in front of experts.

If you get funding—all the better! If you don’t—you’re by no means walking away empty handed.

DECIDE YOUR WORK IS WORTH IT One grant you’re guaranteed to never receive? The one you didn’t apply for.

New writers can find it tough to meet eligibility requirements for grants, especially if they don’t yet have many professional publication credits. The first hurdle is to decide that their career and work is worthy of funding. Next, they need to focus on building a writing CV to increase the number of accessible grant programs.

“There are steps you can take to get yourself up to a professional level,” says Steel. “For writers especially, it all adds up. There’s no set way to become a professional artist.” Besides working on your craft and sending out your work for publication, presentation, or staging, consider taking workshops, attending conferences, entering contests, seeking out mentors, or joining writing groups. All of these activities will not only make you a better writer, but also demonstrate to granting organizations that you’re serious about your writing. Every little bit counts.

GRANTING QUICK TIPS •

Choose the right grant for your project.

•

Don’t pad your budget.

•

Call grant administrators if you have questions.

•

Choose appropriate support material.

•

Tailor your application to the assessment criteria.

•

Submit a complete application.

•

Be concise—respect word counts and page limits.

•

Mind the deadlines.

•

Answer questions directly.

•

Be patient.

•

Ask for feedback and try, try again!

Fall 2018 ◆ WordWorks ◆ Page 21

G O W FIT THE GRANT TO THE PROJECT Choosing the right grant program for your project is critical.

Before you do all the hard work of putting an application together, be confident that your project truly meets the criteria the funder set.

“The most important thing is to match your project with the organization you’re applying to,” says Steel. “It’s just like submitting work to a magazine. Read your work, read their work—see if it fits.” Look at the types of projects the grant organization has supported in the past, read and reread the eligibility and assessment criteria, and be honest about whether your project is appropriate. If not, don’t waste your time— move on to a different opportunity.

You also need to be clear about the parameters of your project. As Steel explains, “A project isn’t, say, a book. A ‘project’ to a funding organization is a part of your work that you want money for.” For example, you might be looking for research funding, travel costs, conference fees, or tuition, all of which may contribute to a larger work or to your career overall. Keep your focus tight, your request concrete, and your budget straightforward.

Still having trouble find a grant that’s a good fit? Here are a few tips: • Look locally—your city, regional district, or a local foundation may offer arts grants • Team up—a collaboration or community-based project can open up avenues for funding.

• Keep your ear to the ground—follow organizations, groups, and colleagues that are likely to share news of any funding opportunities on social media.

• Find your people—consider who you are as a writer. Some grant opportunities are available for specific groups, such as emerging, youth, or Indigenous artists.

• Beyond the box—do you work with subject matter that might have its own stream of granting? For example, if your work focuses on Asian-Canadian history, cultural or historical societies might have funding available.

JURORS ARE NOT MIND READERS All right: you’re ready to apply for a grant! What are the secrets to success?

A lot of the common errors that funders see are nutsand-bolts things: incomplete, inarticulate, ineligible, or inappropriate applications. Luckily, these types of problems are easy to solve: check and recheck the guidelines. Have someone read your application for clarity. Be sure that you’re

answering the questions clearly. Follow the funder’s preferred format for budgets and timelines and call the program officer if you need help or clarification. Many organizations offer their own grant-writing tip sheets or workshops—take advantage of these resources when you can.

In a lot of ways, by the time you’re writing the application, most of the hard work is already behind you. You’ve spent years developing your skills as a writer. You’ve embarked on a project or professional journey that you’re passionate about.

You’ve thought carefully about what you need money for, and how much you’re asking for. You’ve thoroughly researched granting opportunities and have picked one that’s a good fit for you. All that’s left is to argue your case as best you can.

Rule number one: know your audience. “A grant application is a conversation between you and your work, and a jury,” says Steel. “Always think of a jury who’s going to be reading [your application], and they can only read what’s in front of them.”

Assume the jurors know nothing about you and explain what makes you and your work unique. Pay close attention to the grant’s assessment criteria and speak to the elements the jurors will be looking for. Dig into the ‘why’ of your project as well as the ‘what’ and the ‘how.’ Remember, though, that grant assessors are reading through dozens of applications. Be clear and concise—save your creativity for your artistic work.

The goal is for the grant assessors to clearly understand your project, and be as excited about it as you are. To this end, make sure your support materials match your grant proposal, especially if you work in a range of styles. Choose polished excerpts that are relevant to the type of project you’re pursuing—i.e., if you’re applying for a prose project, don’t submit poetry samples.

As Steel explains, “Give the jury enough information so that they can imagine that new work being as good as the work they’re seeing in front of them.”

REJECTION IS NOT FAILURE Every time you submit a grant, you are competing against a unique pool of fellow applicants and being assessed by a certain set of jurors. No matter how strong your application, funding is never a guarantee—and it’s never a personal judgment.

Embark into the granting world with an open mind, do your homework, learn from the experience, and don’t give up!

Happy writing and good luck.

Page 22 ◆ WordWorks ◆ Fall 2018

A g r o

B g f d a

C o a s r s a t t

C o t c

C o k t

F o i n

H t p d p c

W o i

Granting Organizations for Writers & Publishers ACCESS COPYRIGHT FOUNDATION grants include the Marian Hebb research grant, professional development grant, and events grant.

BC ARTS COUNCIL grants include project assistance for creative writers, professional development, scholarship awards, and touring initiatives.

CANADA COUNCIL FOR THE ARTS offers a wide range of grants, such as professional development, research and creation, travel, touring, residencies, and more. Granting streams exist specifically for literary publishers as well as supporting the arts and cultures of First Nations, Inuit and Métis people.

CANADIAN HERITAGE offers a wide range of funding opportunities, including for arts and media, culture, history, and Canadian identity.

CREATIVE BC offers skills, project and market development funding for the creative industries.

FIRST PEOPLES’ CULTURAL COUNCIL offers grants to Indigenous artists in B.C. through several Aboriginal arts development awards.

HERITAGE BC through the heritage awareness program, offers funding for research, documentation, presentation, and publication of information about specific community heritage resources.

WOODCOCK FUND offers emergency funding to writers in distress.

Fall 2018 ◆ WordWorks ◆ Page 23

ESPRESSO BOOK MACHINE DAVID CARSON

O

n a cold, rainy Saturday in late 2017, nearly 70 people gathered in the atrium of the Harbourfront branch of the Vancouver Island Regional Library (VIRL) to commemorate something special. They came from Denman Island, Masset on Haida Gwaii and from all over Vancouver Island to watch, listen, read and celebrate.

This eclectic group had gathered for the release of a poetry anthology commemorating Canada’s 150th birthday. The anthology, called 150 x 39, is a collection of poems from across VIRL’s service area. To be considered for publication, poets were invited to submit works that reflected their unique communities. Over 100 poems were submitted and Nanaimo’s Poet Laureate, Tina Biello and librarian, Jonathon Bigelow were given the difficult task of choosing only 39 poems to publish.

Their efforts were worth the struggle.

The published anthology became a collaborative reflection of our diversity and our connection to our shared history and environment.

Not only did VIRL curate the anthology, we also produced the books with our state-of-the-art Espresso Book Machine (EBM) at the Harbourfront library’s Second Storey Press. In the 21st Century, libraries are evolving away from being repositories for books and are becoming research hubs, technology hotspots, and places of creation.

Customers as content creators is a focus for VIRL as a way to promote and expand the use of our Espresso Book Machine. Authors at all our branches will be invited to print their books through a program we are calling YOUR BOOK HERE! After the book has been printed, the author can donate a

copy into our circulating collection.

Participants in the call for poems for 150 x 39 included an entire grade 12 English class from Duncan, two siblings under ten years old from Masset (both of whom were successful in getting their poems in the anthology!) and former Nanaimo Poet Laureate and established Gabriolan author, Naomi Wakan. Each successful poet received a copy of the anthology, an invitation to the launch, and had their poem displayed in their home branch. If this response is any indication, we have no shortage of established and aspiring authors eager to print their works or contribute to future VIRL projects.

Since its arrival at the library, the EBM has produced books that go way beyond our poetry anthology. We have published books by local street performers/poets, by people wanting to put their memoirs into print as gifts for friends and family, by published authors, home schoolers and for class projects from School District 68. We’ve also printed fan fiction, comic books, and versions of books currently out of copyright.

We even had a gentleman who giggled with unabashed joy as his memoirs landed in the shoot after being bound.

Our goal is to have customers from all over our 39 branches giggle as their books come to fruition. For more information on how you can get your book printed by Second Storey Press email: creativitycommons@virl.bc.ca.

HOW MUCH TIME DO I NEED? The timeline and prep needed to publish a book

Y

our manuscript is ready for the world. Congratulations! You’ve arrived at the publishing doorstep. But it’s not a book—yet.

You’ve done your homework. You’re going with Indie publishing, your edited manuscript is finished and you have a design in mind. Title information, back cover blurbs and quality images are all prepared.

What happens next? Where? How long does it take? How much will it cost?

One option? Createspace.com—a free publishing site.

I took a week (down to a few hours now) to work through the process and I have professional experience with software and formatting. There are other free sites, but Amazon has 1.8 million books available for sale, many designed on Createspace, so they must be doing something right, right? Let’s walk through that process together …Start by creating a writer’s account (createspace. com/login). At the Member Dashboard, click “Add New Title” to begin the 11-step guided process—be prepared to make decisions.

Enter your title information and publishing date (perhaps in the near future?). Have Createspace assign your ISBNs or enter your own (register at collectionscanada.gc.ca). With the exception of the Createspace title and ISBNs, which are forever locked, any feature can be edited, cut or added.

To comply with Createspace requirements, you may have to change your book layout in your word processor. If your book will be 6” x 9” (15.24 cm x 22.86 cm) then reformat your manuscript layout the same. Select font and size (12 pts), format your TOC, chapter headings, set single space, use tabs and indents, review

ALFRED COOL

your manuscript for look and feel, then save a pdf version. Back at Createspace, select paper color and b/w or color interior. Createspace trims for you. Upload your new pdf version.

Imagination-boggling eye candy is next! You can submit a pdf version of your cover, but your Adobe Photoshop file will have to satisfy Createspace design specifications (check out the videos on Createspace) …but this is not novice territory. If you build your cover online using one of their 30 templates, Createspace arranges the cover image and places the ISBN, spine, author picture, about the author and back cover text. Experiment, then save and submit your cover for (almost) immediate approval. Fix any issues and resubmit.

When you and Createspace are satisfied, submit your project for review. Wait 24 hours for notification your proof is ready.

Download a pdf proof and review online in their viewer. If Createspace makes changes, edit your original manuscript, save the fixed pdf and resubmit the project. Repeat until you accept the proof. Order a hard copy, too!

Finally, decide on cost and distribution channels.

Congrats, again. You’re finished. You can publish on Kindle with the same files by clicking another link. Even after publication, you can resubmit covers or interiors and republish. You can also publish on other sites (with modifications) with their ISBNs. Finally, consider creating an author’s page on Amazon.com.

The preparation is substantial and critical, the process requires intermediate computer skills, but the rewards are unlimited.

Page 24 ◆ WordWorks ◆ Fall 2018

EMILY BOURKE

I

f you’ve written a children’s book the next step to publishing is pictures! Will those images be delicate, silly, gross, scary but fun, exciting, challenging?

A lot of the success of your book rides on choosing an illustrator and that can be a daunting task. You may know several artists but have never hired them. As an illustrator and writer, here are some steps and helpful tips to working with artists.

HOW WILL I PUBLISH MY BOOK? If you have a publisher (so your book is not self-published), they will hire illustrators to do the work. An art director will select the right artist to represent your writing. Most publishers will tell you not to submit artwork with your manuscript unless you’re also the illustrator of your book.

Some self-publishing companies offer a list of illustrators but if not, you’ll need to seek out your own.

Fall 2018 ◆ WordWorks ◆ Page 25

HOW DO I FIND AN ILLUSTRATOR? The Society of Children’s Book Writers and Illustrators (SCBWI) features a gallery of illustrators to choose from, including their portfolio and contact information. You can also Google search children’s illustrators. If you work better face to face, a local artist can be a great benefit to negotiating and getting your ideas across.

List the illustrators you like the most and note your top pick.

Look at artists who work in styles you like. Most artists are very versatile, but don’t expect someone whose portfolio is filled with work like Beatrix Potter’s to llustrate like Dr. Seuss.

Contact the artist, letting her know who you are and why you’re contacting her. Give her your book’s short pitch so she has an idea of what it’s about. Flattery also doesn’t hurt—let her know why you like the art. Include your website or any other professional links so she can get to know you and your work.

Send inquiries to different illustrators—the more you send out

the more likely you'll get at least one response. Be persistent and politely follow-up if you haven’t heard from the artist you really wish to work with.

Once you have an illustrator’s attention, she’ll want to know more details about your book. These details are important for putting together a contract.

DETAILS: HOW MANY ILLUSTRATIONS DO I WANT & HOW WILL MY PAGES LOOK? Start by letting the illustrator know how many pages your book will be and how many will include illustrations. Do you want every page filled with illustrations, or every other page? Full spread, or spot illustrations? Deciding before talking to your illustrator helps her know what you’re expecting. You can leave this decision to the artist, but be aware that what she envisions and what you envision may not be the same.

Also decide where and how you’re printing your book. Your publisher will have a selection of sizes and guides for trimming and bleeds. Dimensions and guides are a must for your illustrator so important details don’t end up in the book’s center crease, or off the outer edge of the page.

TIMELINE: HOW QUICKLY WILL YOUR BOOK BE PUBLISHED FOR THE WORLD TO ENJOY? Illustration is time consuming. Your artist will need enough time to create the art. Let the illustrator know an approximate

timeline for finalized illustrations. They may have input on how long it will take.

Like most professionals, illustrators like to have a deadline.

Setting a due date ensures you’re both on the same page.

Pro Tip #1: If you’re asked by an illustrator about your deadline, answers such as: “I’m not sure when I want the book to be done, sooner than later I suppose”, sound less professional and more like someone who doesn’t take children’s literature very seriously. If you don’t have a specific deadline, come across like the pro you are with an approximate deadline such as: “I’d like to have the illustrations done by June so I can have the books ready for Christmas.”

This will help keep you on track and gives the illustrator confidence that you’re dedicated to making this book a hit.

PAYMENT: HOW MUCH IS THIS GOING TO COST? People see the pictures first. Remember “cheap art isn’t good and good art isn’t cheap”. The publishing industry standard for a 32page full colour book ranges from approximately $3,000 to $15,000 plus royalties. At the lower end are artists with less experience, and the higher end are more experienced artists. Royalties alone are not enough incentive for artists to work with you. Your illustrator deserves to be paid for her time, energy and creativity. A good illustrator will want your book to be a success and will invest in bringing your writing to life.

Pro Tip #2: Not sure of your budget? Consider how much your artist charges per illustration. This may range depending on the size and whether you want full colour or greyscale. If she charges $100 per illustration, and you want 32 pages plus the front and back cov-

Page 26 ◆ WordWorks ◆ Fall 2018

er, that’s $3400 for your book. If your budget is smaller, consider reducing the number of illustrations. Some illustrators can also do design and layout which needs to be factored into your cost. Some self-publishing companies will have designers but you may also need to hire a designer.

HOW DO WE MAKE A CONTRACT?

characters and the layout of the book. You’ll get a dummy of the sketches to see the flow of the illustrations. If you have revisions, let your illustrator know before the time consuming colouring and/or inking stage.

You’ll have chances throughout the process to review and give feedback. Once the work is completed the artist will send you high quality images of the artwork.

I HAVE ILLUSTRATIONS! Congratulations! Your picture book is fully illustrated. There are a few more steps to publishing, but most of the work is complete. You’re well on your way to realizing your dream and creating a book that kids will love. Good luck!

Illustrators often have a contract prepared and can fill in the details of your project. You can also set up the contract yourself. Include deadlines for artwork, dates of payment and copyright restrictions. Usually, payment dates are set up as the work is completed. A good way to set up payment is 25% of the total cost upfront, 50% half-way through the project and the final 25% when the work is complete.

Both of you will need to sign the contract to ensure that you hold up your end of the deal. Even if you have built a professional rapport, a contract protects both of you. If you’re working long distance, send a contract with a self-addressed, stamped envelope.

Once the contract is signed your illustrator will develop the look of your

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LORNA CROZIER FÊTED WITH 25TH GEORGE WOODCOCK LIFETIME ACHIEVEMENT AWARD TREVOR CAROLAN

T

hursday, June 28 brought a pleasantly cool, upbeat evening to Vancouver. At the city’s central Public Library branch downtown, renowned poet Lorna Crozier proved a fitting recipient of the 25th George Woodcock Lifetime Achievement Award.

The evening began with remarks by BC Bookworld publisher Alan Twigg who explained the origins of the prize. Named in honour of B.C.’s matchless all-around man of letters and humanitarian, the Woodcock award annually celebrates an outstanding literary career in the province. Founded in 1994 by the City of Vancouver, the Vancouver Public Library, and the non-profit Pacific BookWorld News Society, it has been jointly sponsored since 2009 by the Writers’ Trust of Canada and Dr. Yosef Wosk, and includes a $5,000 prize and installation of a plaque added to

Vancouver Public Library’s Writers Walk of Fame. Past recipients include Jane Rule, Peter Trower, Alice Munro, Joy Kogawa, bill bissett, David Suzuki, Wayson Choy, and Jeanette Armstrong.

Crozier was introduced by Ann Graham Walker, President of the Federation of British Columbia Writers. Speaking on behalf of the organization’s nearly 800 emerging and professional writers from throughout the province, Walker offered a comprehensive background to Crozier’s career, and into the nature and grounding of her poetics.

“Lorna is a national treasure,” she observed. “Even people who thought they didn’t like poetry have enjoyed hearing her on their car radios… she’ll pop up on the CBC, and what she has to say is universal and engaging—she’ll write about onions and carrots, aging sex; she’ll have you in stitches, then on the next page devastate you with a few stanzas about grief.”

For anyone unfamiliar with Crozier’s memorable "Packing For the Future: Instructions," or other classics, Walker described the character of her work as “Spare, elegant; her precise words land in the human heart…”

Evoking the award winner’s prairie origins that are recalled in her memoir Small Beneath The Sky (2009), Walker clarified how its recollections of Crozier’s Saskatchewan roots echoes the concern in her work with the centrality of place, of intimately knowing where we are. Building on this, she acknowledged Crozier’s long teaching career alongside her husband, fellow poet Patrick Lane, at the University of Victoria. In renaissance tradition the pair now see their former students carrying on their poetic lineage and drawing acclaim and awards of their own.

“Lorna Crozier has joined an elite group of writers.” Walker said. The individual literary plaque it comes with at the VPL’s plaza downtown symbolizes “how we mark the life and work of the wonderful writers who have told our stories and touched our hearts with their own unique perfection. When you get your own stone in a walk, you’re not just an honoured writer. You become the future’s archaeology. That’s big.”

The FBCW president reminded the large audience that Crozier has won the Dorothy Livesay Award (2000), the Lt. Governor’s Award for Literary Excellence (2013), three Pat Lowther

Page 28 ◆ WordWorks ◆ Fall 2018

Awards, and two Governor-General’s Awards. She became an Officer of the Order of Canada in 2011.

Noting how the award would be incomplete without a word in homage to Patrick Lane, Walker expressed her gratitude to the example of this enduring literary couple with a passage from Rainer Maria Rilke, a favourite of Crozier, citing: "I hold this to be the highest task for a bond between two people, that each protects the solitude of the other."

She concluded, “Thank you, Lorna, for translating that compassion and joy into such an astonishing body of work, and for all you have done. Congratulations…”

Crozier began her acceptance by paying tribute to Travis Lupick, who earlier had received the George Ryga Award

For Social Awareness in Literature for his powerful reportage in Fighting For Space.

Crozier expressed her sadness that her husband, Patrick Lane, was unable to attend the event, as he was unwell and in hospital.

“I never met George Woodcock, but I am a great admirer of his writing and his social engagement. To receive this award named after him is a great honour. I am thrilled that my name will appear on a plaque in front of this center of learning and creativity."

“Getting an award called Lifetime Achievement…[it] signals to anyone that the recipient will be long in the tooth,” she aid with a smile. “It doesn’t seem that many years ago that I was the youngest poet on the stage at literary festivals; now I am the oldest. Seventy seems a good time to look back and evaluate…I can honestly claim that since my mid-twenties, a day hasn’t

gone by when I haven’t been in the company of poetry.”

Silence is more important to poetry than to any other verbal art form, Crozier said. "Like animals who dwell in the forests or the grasslands, the words come with hesitancy, syllable by syllable, and if we make a false move, they quickly slip into shadows… Poetry thrives on questions, not answers, on ambiguity, on the deep truths that lie like bedrock under the shakiness of modern morality and politics. With love and sorrow and exultation it praises the magnificent like spirit bears and Orcas but also the small, common things of the world.”

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FINISHING UNFINISHED BUSINESS CHRISTINE LOWTHER

A

n unexpected email:

Hi Christine: ...The Saturna Singers, a 24-voice SATB choir on Saturna Island, of which my wife Sharon Schermbrucker is the director and I am a member, will be singing Stephen Smith's setting of your mom's poem "what i want" at our annual concert on 25 and 26 May, 7 pm in the Saturna Community Hall.Recalling the sad regret that you expressed to me that my English Creative Class at Capilano College which you attended 30 years ago was not studying some of Pat Lowther's poetry, I thought you might wish to attend the concert on one of those days. So I invite you to come.

There are 14 songs on the programme, so if you spoke or perhaps read Pat's poem, it would be just a few minutes. I have arranged billeting n Graeme Bregani's cabin on our collective land, and I can pick you up at the ferry and drive you around. Please let me know if you are interested, and a number where I can phone you. I hope you will come. Thanks.

Bill Schermbrucker

English Creative Class... I’m not sure I remember it.

I know I took a course to learn about poetry and understand poems. That must have been it. My sister, Beth, who never had him as a teacher, finds the retired prof ’s picture online and he does look vaguely familiar. I convince Beth to come too. We will meet on the ferry, Beth coming from North Vancouver and I coming from an inlet off Tofino. It is not easy to reach Saturna Island, but when an invitation comes to keep our mother’s work alive in some small way, we value it. I just have to arrange for the time off work, make sure my garden will be cared for, re-check the buses and timely ferry connections, and whether it will take two days to get there, or one very long day...

I email Bill:

I have seldom had a kinder offer. Thank you. Not sure as yet whether I can come, as I work Saturdays and already taking one off this summer to present at the Denman Island lit-fest, and the gulf islands are very tricky to reach from here by public transit. I have only been to Saturna once, and found it gloriously beautiful! My sister Beth would certainly love to attend, whether alone, or with me, and has fond memories of you using the library where she worked...How cheeky of me, by the way, to complain in your class!

Let’s stay in touch in the meantime.Warm regards, Chris “what i want” is the third section of a poem called Random Interview, published in two of Mum’s posthumous books, Time Capsule and The Collected Works of Pat Lowther. To this day I cannot read the poem (whether aloud or to myself) without crying. Even recalling it to mind can bring tears to my eyes. The first section is "the fear," the second is "i am tired" (which could just as easily have been called the pain), and the final part, which has been shaped for singing, is "what i want."

Several emails go back and forth. Bill tells Beth and me he thinks the entire poem should be read so that the audience has context. Thankfully, there is a choir member who will help us read.

The day of departure should be eleven and a half hours travel. Unfortunately, Beth arrives without me.

I make it as far as downtown Victoria at 10:15 pm. A good friend gets me onto the morning ferry next day. On board, I look at the poem yet again. I realize that "what I want" is a rising release and relief, as well as a statement of power from someone who was suffering. It is a plea, but not a prayer; it is a positive declaration of life and love in the face of despair.

At Lyall Harbour, Beth and Bill are waiting for me.

Bill has a long wizened beard. I like him instantly. He buys Page 30 ◆ WordWorks ◆ Fall 2018

us coffees at the purple, double-decker bus which is an outdoor café, perfect for this beautiful late spring day.

“Did I actually finish that course you taught?” I wonder out loud. As if he’s going to remember one out of thousands of students more than thirty years ago.

“Yes, you did. I gave you an A-.”

I don’t know whether this is another joke or not. I tell them about my latest reading of the poem, how the first two parts are dark and heavy, while the third part is so lightening—Bill raises his hands through the air as if they float. He knows.

He drives us to the grocery store, then to his home, pointing out the sights along the way, then inviting us in to meet his wife Sharon, the choir director. She gives such a loving hug I consider going back for seconds. But Bill hands me his car keys, says they have a rehearsal, and tells us to enjoy the island. He also hands us two of his books, a novel and an anthology about the origins of Cap College.

We revel in the crowd-free spaces, cliffside walks with vertiginous views, fabulous sandstone formations, pinnipeds lounging and growling, delicate and cautious deer, giant Nootka Rose bushes teeming with bees, a wild turkey displaying on the road. Twice we get lost down long, dead-end tracks. Beth tells me Bill said his invitation to us is to finish unfinished business. He is at home putting on his black-and-bling outfit when he offers us a drink and shows us what he’ll be reading—his introduction to the song. "...Pat Lowther was an important Canadian poet beginning to be recognized, when she was murdered in 1975.

A little while later [eleven years!] her daughters enrolled at Capilano College, where I was teaching Creative Writing. One day, Christine asked me why her mother’s poems were not on my list of required readings. I shrugged and said her mother’s work was not yet well enough known to be in the anthologies I required my students to buy. More than 30 years later, I noticed that our director Sharon had chosen Pat Lowther’s poem “what i want” for us to sing this year. So I invited Christine and Beth to come and hear us sing it, and maybe read the poem, or at least the most uplifting part to us. So they came, despite difficulties including the horrendous crash which closed the Malahat highway yesterday.Our stalwart Louise Sam Peramaki stands ready to assist with the reading. In the presence of her daughters, Pat Lowther’s voice continues to be heard."

I ask whether Gary Geddes’ anthology of Canadian poets included Mum, but apparently not that early edition.

We are asked to sit in the front row of the Community Hall. Tired from the active day, I hear each song sung beautifully and sorrowfully. The last one before “ours” is Jane Siberry’s “You Will Walk in Good Company,” anFall 2018 ◆ WordWorks ◆ Page 31

other familiar and loved tear-jerker. Then Bill gets up to speak, his voice already shaky.

“We have two special guests tonight, Pat Lowther’s daughters—” His voice breaks on that word before he can say our names. I cannot look up. Have I ever truly heard this word before, or recognized its treasure?

When he comes to the murder there are small cries of shock from within the audience. Soon we three readers move to the microphone and I realize I have to be strong in case Beth or Louise struggles. They, after all, have the dark sections to read. But each of them sounds clear and I share my mother’s lines with these welcoming islanders, attempting to express them rightly, and then I thank everyone for having us, and we sit down.

After applause, the singing starts. And then I am surprised. It’s not just Beth and me who are moved. I can hear sniffles from all around the room. Somehow this is comforting. what i want is to be blessed what i want is a cloak of air the light entering my lungs my love entering my body the blessing descending like the sky sliding down the spectrum what i want is to be aware of the spaces between stars, to breathe continuously the sources of sky, a veined sail moving, my love never setting foot to the dark anvil of earth The Saturna Singers share Mum’s words in divine, swoon-worthy harmonies. I can only look up and meet their eyes some of the time, and can’t look at Beth at all.

My face must be scrunched up. I am unable to inhale. As the song ends I look up to Bill, standing at the back row; tears trickle down both sides of his nose.

Sharon, who has been conducting, turns to smile at us. I glance quickly at my sister and see water at the corner of her eye.

The following song is sad too! But thankfully the last two are jolly, so we are able to meet and thank everyone at the event’s end.

“Do you know there is an annual poetry award named after our mother?” I ask Bill. He does.

A WRITER’S VIEW OF THE SUBMISSION LIFECYCLE GARGI MEHRA

W

riting often finds unfavorable comparison to dating, and for good reason. Writers and daters are often anxious, seeking to psycho-analyze their partner’s every action, hoping for a brief even if inaccurate insight into their thoughts. The writer scans his inbox, eager to pounce on a response—any response— from those hallowed editorial halls.

Online submission systems ease the process for writers and editors, but it’s not easy to subdue the neurotic side of a writer’s personality. Writers check the submission system daily, wondering if by some unfathomable magic their piece has jumped from Received to Accepted in one fell swoop.

But no, there are several interim statuses to contend with before that heavenly realm of acceptance.

Received / In-progress: Either of these statuses, by themselves, cause no trouble.

Over time, frustration cumulates and the writer wonders why it has not advanced.

After a few months the writer gives up hope and directs sidelong glances at the status, willing it to morph before his eyes, even to a rejection, if nothing else.

How to handle it? There’s no better cure than to write a new story.

Accepted: This is the most positive status the writer can encounter. But for writers suffering from the Imposter Syndrome, the acceptance is tinged with worry. The serious doubters amongst us, however, question their reality: Really? Did they read the story properly? What if it’s a mistake? What if they take back their acceptance? Or worse, what if they

want to take back their acceptance and send me a rejection instead but they can’t because they feel guilty about sending me an acceptance and raising my hopes? Should I check that it’s not a mistake? How should I phrase such an email? And what if my email forces them to rethink and make them withdraw their acceptance?

Eventually, the writer comes to terms with the acceptance and sends off an effusive and well-worded thank-you email to the editor, hoping for the best. They move on to their next worry—will the piece really get published? What if the magazine shuts down before that happens? Do they pay?

Will they take back the payment?

Send out that thank-you mail to the editor and strike off the accepted piece from your submissions list. Circulate the link to your story on all social media when it’s published. Celebrate with champagne!

And then, get back to work.

Declined / Completed: This is the writer’s worst nightmare come true, triggering the first thought—Was it a mistake? Can’t they take back their rejection?

This occurs only to the newbie, of course. For the seasoned writers, after a certain number of rejections have thickened their skin, they know there’s no going back.

Send it out to the next market on your list. If you’ve arrived at the end of your list, search for new markets. If the story has garnered nothing but form rejections, consider revising your story.

Withdrawn: This is the second-most positive status after acceptance. However, it

comes with its own baggage of emotions.

Guilt for withdrawing a piece that had been simultaneously submitted sounds unreasonable, but the writer can’t help muttering an inward groan when clicking the Withdraw button. The thrill of having a story accepted is ever so slightly coloured with a feel-bad factor. There is nothing different the writer needs to do except develop a thicker skin and learn to shed the guilt.

In addition to the submission statuses, writers struggle with those thrilling borderline responses, such as a “good” rejection – one in which the editors have taken time out to pen their thoughts on the submission. The writer reveres the positive words, reading them over again until they are imprinted on her brain, wondering: Can’t you just accept it if it’s that good?

Another response that throws the writer on tenterhooks is the edit letter or arequest for revisions. The good news is the editors want to see a revised version, but the not-so-good news is that the revisions have to be done mostly on spec, and the outcome is uncertain. Grasp this opportunity to hand in a revised version, especially if it improves the story.

In the end, it falls to the writer—how deep he reads into his submission status and what conclusions he draws by reading between the lines. Whether close inspection of editorial responses is a fruitful exercise at all or not is a debate for another day.

Experienced writers recommend the best response—keep writing and learning, the submissions will take care of themselves.

Page 32 ◆ WordWorks ◆ Fall 2018

BRANDING YOURSELF AS A WRITER DONI EVE

A

s a story teller you know it’s important to get character, setting and plot right.

Branding and promoting yourself as a writer is a similar process. It’s the story about a special protagonist—yourself!

Your brand is who you are and what your work stands for. It lets readers form an emotional connection to you and sparks their desire for more of your work. Your brand is a beacon to draw your audience and set you apart from the crowd.

A brand is a promise about what you represent and if you consistently deliver on that promise, it creates familiarity and trust.

Having that relationship with customers established, you can focus on producing great work—because your work is part of that promise.

Approach branding yourself in the same way you create a character in one of your stories. You can start with a profile.

Reflect on: 1. What is your writing style and genre?

2. Are there common themes in your work?

3. What do you bring to your readers that they won’t get elsewhere?

4. What are your values, interests and passions? And how do they align with your writing style and story themes?

5. What tidbits from your background will add interest?

6. What elements of your daily life would support your brand?

7. Is there a single word or short phrase that describes you as an author?

From your answers, consider: • What stands out and what are the common themes?

• Is there something unique or outstanding that identifies you?

• Are there images, colours or visual elements that would define your brand?

Fall 2018 ◆ WordWorks ◆ Page 33

Choose key themes from your answers to develop your brand and try to narrow that to a few defining words or an image that can become a logo, tagline or concept for your communications.

As an example of image and colour, look at how Nora Roberts appears on her author pages as herself and as pseudonym J D Robb. As Nora, she writes romantic fiction and J D is the author of a suspense series set in the future. JD appears with slick hair and leather jackets in black or bold colour. In the photo of Nora, she wears light colours and her hair is softly curled.

Those images fully mesh with readers’ expectations and satisfy each of her brand’s promise to her audiences.

To connect your brand with an audience, first define your audience. Who is important to reach? Consider your readers and who you would like to attract as readers. Who influences your readers (perhaps media, bloggers or other authors) and where are the best places (physical and digital) to reach them?

Investing time into creating a solid promotional plan is as valuable as your outline for a novel. The main components of a plan will include what you want to accomplish (your goals and objectives), the audience, key messages, strategies, tactics, budget and evaluation plan.

Strategies and tactics are about what you will do and how you will do it. A strategy is to “promote my book” and a tactic is to “hold a book launch event”.

Think of strategies and tactics that will work for your brand. For example, if you write “how-to” books, a good strategy is to promote your expertise by teaching workshops, speaking to a classroom, participating in panel discussions or developing an educational blog.

Here are a few ideas for authors: • Develop a blog or social media feed and write about topics that support your brand. Romance writers could discuss the history of the romance or the authors and stories that inspired them; or create celebratory posts for Valentine’s Day. • Share your expertise—this provides value for readers and encourages engagement. Promote your insight on topics that are aligned with your brand as an author.

• Share select details about your life to provide a personal connection for your readers. If pets feature highly in the lives of your characters, for example, share stories about your own pets.

• Build relationships with others who share your objectives or subject matter.

Connect with your local librarian, for example.

• Support your fellow authors by engaging with their social media and attending events (they will likely reciprocate).

• Promote your events or appearances.

The world of marketing can be overwhelming to writers. You can find templates online to help, but don’t underestimate the value of a professional. Marketing and promotion workshops at writers’ conferences are great ways to connect with professionals for advice. Often, discussion is focused on social media and channels that are bewildering to many authors.

Make the most of your conversation with a professional by understanding your brand ahead of time, before getting into the nitty gritty of channels and tactics. Know your product—it’s not just a book you are selling. For more on marketing, look for the article on Channels coming in the Winter WordWorks

and their Amazing Machines VALORIE LENNOX

T

he second part of this series on pre-digital printing is about invention, whether necessary or not, as the brightest brains of the industrial revolution transformed the printing press into something Guttenberg would never recognize.

When presses were constructed from hardwood, press design remained much the same from 1500 to 1800. But once inventors could use iron—which was stronger and could be cast or shaped more precisely than wood—entirely new approaches to printing became possible. New press designs appeared decade by decade, culminating in the unbelievable complexity of the Linotype machines, which automatically cast lines of type on demand.

The precursor to these changes was the development of the iron industry during the 18th century. Henry Cort introduced puddling and rolling techniques in 1783-1784, enabling British mills to remove impurities in iron production and create stronger metal.

In 1800, Charles Mahon (Lord Stanhope) built the first all-iron hand press. It was the same general design as earlier presses but required 90 per cent less brute strength to achieve the same print pressure. The press was smaller, printed faster at 480 impressions per hour, and made a cleaner impression.

Innovation follow innovation as inventors explored the applications of new processes to print production. In April 1812 a steam-powered press was quietly patented by Friedrich Koening and Andreas Bauer. On November 29, 1814, the new invention was dramatically unveiled to the public via the following announcement in the London Times: “Our Journal of this day presents to the Public the practical result of the greatest improvement connected with printing since the discovery of the art itself. The reader of this paragraph now holds in his hand one of the many thousand impressions of The Times newspaper which were taken off last night by a mechanical apparatus.”

The steam powered press changed the world of publishing. For the first time, the cost of printing dropped to the point that ordinary authors could consider publishing and then sell-

ing their own works, directly or through subscription. Or a publisher could buy the writer’s work outright, publish, and sell it.

Print became increasingly common, leading to increased literacy. In 1814, the literacy rate in Britain was estimated at 67 per cent for men and 51 per cent for women. By 1900, the literacy rate was approximately 97 per cent for both sexes.

In 1865, large scale printing was further advanced by development of the perfecting web press by William Bullock of Philadelphia. This press utilized rolls of paper, printing on both sides of the sheet, and eliminating the manual feeding of paper.

Small scale job printers were also being offered new tools starting in the 1830s, with different treadle-powered, platen, and clamshell presses coming onto the market. Among the new designs was Stephen Ruggles’ 1849 Rotary Job Press, which implemented the new mechanical operation made possible by the switch to metal. Ruggles also created an embossing press to ‘print’ braille.

Page 34 ◆ WordWorks ◆ Fall 2018

Despite all the advances in printing presses, there remained one major bottleneck in production: every document still had to be assembled letter-by-letter.

In 1886, Ottmar Megenthaler broke that bottleneck with his invention: the Linotype. The name perfectly captured what the massive machine did: it produced a line of type.

Hand compositors, no matter how skilled, didn’t have a chance against linotype. One linotype operator was 10 times faster. Instead of manually assembling letters and spaces, the operator typed the desired text on a 90-character keyboard.

Based on the entered characters, the giant machine would automatically pull and assemble the matrixes (moulds) stored in its library to match the text.

Each Linotype included a crucible of molten lead. The lead was poured into the newly made mould, creating a custom-cast metal slug. Locked into a form, the slugs became the printing plate.

The entire process was mechanical: controlled by a web of pulleys and gears so complex that Thomas Edison once called the Linotype “the eighth wonder of the world.” (For a glimpse into the sound and look of a Linotype in action, check the website for Linotype: The Film at http://

Fall 2018 ◆ WordWorks ◆ Page 35

www.linotypefilm.com.)

Other automatic typesetting machines followed: the Monotype in 1887, the Ludlow Typograph in 1906, and the Intertype by 1917. All dominated the print industry for almost 100 years, until pushed aside by offset printing in the 1970s.

Retired printer Bruce Gordon of Nanaimo is one of a dwindling number of people who have operated a linotype.

He was 17 in 1956 when he apprenticed as linotype operator working on The Spirit River Signal. Like many remote community newspapers, the Signal had its own Linotype machine and its own press. There was no outsourcing and no other way to produce a newspaper.

“The Linotype was an amazing machine. It was all mechanical and you were in control of it,” Gordon said. “The noise of it was incredible.”

All the processes happened simultaneously, since the Linotype operated like its own self-contained production and assembly line for words. As the operator punched each key, the required matrice for each letter or symbol was dropped from the magazine and locked together with spacers into the desired line. Hot lead was poured into the assembled matrices, cooled and spun, and the newly cast slug ejected into a

galley tray, where it was held in the order in which it was cast.

Meanwhile, the line of matrices was automatically picked up by a conveyor and distributed back into place in the magazine, ready to be used again. Individual tabs on each matrice ensured each dropped back into its correct slot.

Over his dozen years working with hot metal, Gordon became proficient enough to set a tray of type in half-anhour and complete a full, broadsheet size newspaper page (24 inches wide by 30 inches high) over several hours.

When combined, the lines of slugs formed a reversed and raised impression of the text to be printed. These were locked into the form, proofed by reading the text upside-down and backwards, and used to print.

Gordon notes the process had little waste. Once the text was printed, the lead in the form was cleaned and cycled back into the crucible to be melted and cast into new slugs. Gordon also maintained the machine, which included greasing all the pulleys and gears and cleaning the matrices.

For almost 100 years—until they were replaced by offset printing—hot lead machines were the mainstay of newspaper, magazine, and book publishing. The explosion of print material that occurred in the late 1800s and first half of the 1900s rested on the flying fingers of linotype operators.

Gordon notes that many people don’t know about the machines, in part because they are large and heavy. Unlike letterpress printers, which come in a range of sizes and can more easily be moved into a hobby shop, a Linotype weighs approximately 3800 pounds and is six feet high.

If possible, Gordon would like to set up an Intertype that is still in Nanaimo as a working educational display. “These machines were a marvel,” he said. “It was an invention that revolutionized the print industry.”

AFTERWORD: A NOTE ON PUBLIC SPEAKING FOR WRITERS MELANIE DENYS

“I

can’t do this. I don’t want to do this.

I’m going to faint.”

Do you associate these thoughts with public speaking?

As a writer, you’ve likely felt the same sentiments staring at a blank computer screen or paper. But you persevered. Eventually the words gushed forth and you dared to imagine a legion of loyal followers flocking to book signings.

If the opportunity has arrived to come face to face with your readers, here are some oratory fundamentals to guide you through the public speaking process. Pick and practice the ones that speak to you; and leave the swooning to your fans.

KNOW YOUR VENUE AND AGENDA Learn what you can about the event—it can go a long way towards reducing stress and creating a more comfortable experience. Don’t hesitate to ask for information beforehand and plan to arrive ahead of schedule.

Ask about the facility. What is the parking like? When and where are you expected? Who do you talk to when you arrive? Will there be drinking water available? If you have the opportunity, drop by the venue to scout it out.

Ask if there is an audio system. Will you be given a mic? Is there a technician to assist?

Confirm the presentation format. Is there a lectern, or table? Is there a meetand-greet, or panel discussion? Are there other presenters? What is the speaking order?

KNOW YOUR STORY Review your piece ahead of time. Try practicing in front of a mirror. Anticipate possible questions and practice answering them. If you’re prone to stage fright or have difficulty with recall, notes can be a comforting reference.

Know your audience and know yourself The nice thing about being a writer speaking to readers or other writers is that you already know your audience. They are there to hear you!

Despite the fellowship, it can feel daunting to address a crowd. I’m not going to tell you to imagine them in their underwear, but I will say ‘fake it until you make it’. You’re allowed to pretend that you are a confident and charming speaker.

VOICE, VOLUME AND PACE Think of it as a conversation, not a presentation. Your genuine voice will come through and naturally vary the tone to reflect the mood or images your words paint.

Have some water and even a lozenge on hand to deal with dry mouth. Assess the room size and adjust your volume accord-

ingly. If you’re using an audio system, don’t raise your voice or put your mouth right up to the microphone. Keep notes away from the mic as well. The rustling will be amplified and overshadow your speaking.

Deliver at a pace that correlates to the actions and tempo of the words. Don’t be shy about pausing. A well-placed pause can carry impact, give you a moment for regrouping thoughts or taking a sip of water.

BODY LANGUAGE & EYE CONTACT Smile! It doesn’t have to be a silly grin. A simple and pleasant flicker of upturned lips will not only put yourself at ease, but the audience as well.

Use deliberate hand gestures to illustrate words and reinforce cadence. Listeners also look for visual cues to enhance their understanding.

For those uncomfortable making eye contact, glance at the spaces in-between people or look just beyond your hand gestures. Don’t look out any windows or doors or you’ll make people think you’re planning your escape!

Lastly, never be disappointed with your public speaking efforts. Very few authors accomplish finished works overnight; polished public speaking takes time too. Trust that practice makes proficient and your fans want to hear your story.

RESOURCES •

Toastmasters International: toastmasters.org

•

Private communication coaches

•

Dale Carnegie: dalecarnegie.com/en

•

A friend with public speaking experience

•

Community colleges and programs

Page 36 ◆skills WordWorks ◆ Fall 2018 and/or helpful evaluation

NEW TITLES BY FEDERATION OF BC WRITERS' MEMBERS

DEADLINES TO SUBMIT: FALL JULY 1ST WINTER NOVEMBER 1ST SPRING MARCH 1ST

Chaos Great and Wide

Joy Barratt | Self-published, July 2018 | ISBN: 978-1985640313 | $15.00

ravages of World War I left no

t of the human condition intact. ers' bodies were turned into battleof their own - pocked with shrapce, rat bites, Trench Foot; their s remained active mine fields - if survived; their families clutched her, gutted of men for years. ges and cities were converted to ary engines producing for, or sufg in sacrifice for, the needs of the machine. Oceans were littered with es and broken life rafts and twisted of sunken metal. Skies were ripped by planes and bullets and bombs. e fields and farms were blown into r, helpless victims of the deadly ace between powers united from s the great globe, with every movetrying to tear a piece out of the

nes which form the poems inside pages have been found in every of writing that people have used to ss the inconceivable. Historical cal journals; soldiers' letters home; tches sent to the front lines by carigeon; poems, songs and plays; rals' ships logs; packaging from parcels sent to soldiers from home; ketches of anthropological awe.

If you are an FBCW member with a newly published book (self or traditionally published) let us know! We'd be happy to promote it here. Please visit bcwriters.ca/launched to learn more. Due to space constraints, we can only post books that have been published 12 or fewer months before the deadline.

Found Poetry of The Great War

War To End All Wars was a failure xceeded all dire expectations y and unforgettably. And, as shown unforgivably.

Joy Barratt

Mission writer Joy Barratt has composed a series of found poems of the Great War from letter fragments written from the front lines, from descriptions included in military histories, from family memoirs, from dialogue borrowed from documentaries and dramatic series and from excerpts of novels scripted long after the battles concluded. A collection of word paintings, these poems are a graphic representation of the chaos and confusion lived by men in trenches, in field hospitals and aboard ship. Part exposé of past atrocities, part scream of anguish, part tearful empathy for tragic circumstances and, lastly, part hymn to the concept of prevailing peace, these writings are also an ode to those who paid the ultimate price for military victory over the enemy. Order by contacting the author at joybarratt@shaw.ca

Co-Parenting from the Inside Out: Voices of Moms and Dads Karen Kristjanson | Dundurn Press | December 2017 | ISBN: 978-1-4597-4057-0 | $19.99

Effective co-parenting, or sharing significant parenting time with an ex-spouse, is one of the best gifts separated parents can give to their children. The interviews in Co-parenting from the Inside Out are with real moms and dads in diverse circumstances, showing them making choices, sometimes struggling, and often growing. Their stories offer insights into wise decision-making, as well as practical strategies that strengthen families. Parents can see that they are not alone as they navigate their feelings and build a future. While pain exists in most stories, there is also hope. Co-parents often feel that they have become more confident and compassionate, and parent better than before. The effects of their personal growth and their children's are the silver lining in the dark pain of divorce. Karen L. Kristjanson has brought together real-life co-parenting stories that inspire separated parents and help them understand co-parenting better, offering practical tips and tools that directly benefit families.

Inca Sunset

Alan W Lehmann | December 2017 | ASIN: B078P7K415 | $8.99

When Europeans first encountered the New World of the Americas, they rapidly realized that some of the native kingdoms were wealthy beyond the explorers’ wildest dreams. One of these explorers, Francisco Pizarro, determined to carve out his own fortune from the great Inca Empire that occupied much of the west coast of South America. Inca Sunset is a fictional adventure based on the varied historical accounts of Inca culture and of Pizarro’s journey into the heart of the empire. One of the main fictional characters is a Spanish youth named Juan Barnabas, who was taken along by Pizarro to serve as his amanuensis and interpreter. Juan’s destiny unfolded in ways he could never have anticipated. Civilizations collide and worlds shift in this marvelous tale of greed and violence, hope, and finally, love. Inca Sunset is available through Amazon.ca, iBooks, Kobo, and other e-book sources. A signed paperback may be obtained from the author by contacting lehmann2@telus.net.

A Romantic Mystery of a Person of Interest

Ardelle Holden | Self-Published through Friesen Press | June 2018 | ISBN: 978-1-5255-1835-5 | Samantha took a taxi from the SkyTrain terminal to Chinatown that blustery night. She was happy with the progress she’d made on her novel in the two weeks she’d been away. But the breakup with Don when she’d left had not gone well, and she cringed at the thought of having to deal with his temper again. Tired and soaked to the skin, Samantha climbed the stairs to her friend’s apartment. The door stood ajar, which was curious. Siobhan should have been at work. When Samantha peered in, she could just see the outline of two ominous figures skulking in the gloom. She gasped and slammed the door shut. She could hear their muffled shouts as she flew, screaming, down the stairs into the street. Gripped with fear, and shielding her face from the driving rain, Samantha dodged between jousting umbrellas and the spray from the headlong rush of the traffic that threatened to thwart her escape. A Person of Interest thrills and excites with romance and danger in this debut mystery novel

by Ardelle Holden. www.ardelleholden.com | Amazon, Google Play, ITunes, Kobo, Nook(B&N)

Gray Sea Running

R.J. McMillen | Shogun Press | May 2018 | ISBN: 9781775200208 | $15.00 The fourth book in the Dan Connor mystery series, Gray Sea Running is set in the Broughton Archipelago, off the north-east coast of Vancouver Island. Four men are unaccounted for and Connor is determined to find them, but with two of them members of a remote and reclusive community, that’s not going to be easy. Once again Connor will need the help of the man he arrested and put in jail more than twelve years ago, but Walker too proves hard to find and the search is going to stir up some long-buried memories for both of them.

As with all McMillen’s previous books, Gray Sea Running was edited for cultural accuracy, in this case by Trevor Isaac, the collections manager of the U’mista Cultural Centre at Alert Bay (Yalis). Also as with previous books, both the setting and the environment play a large role, and here, with assistance from Alexandra Morton, Connor faces the controversial issue of open-net fish farms.

R.J. McMillen was born in England, raised in Australia, and spent 30-odd years sailing the waters off the coast of British Columbia, where this series is set. Available on Amazon in both paperback and ebook form.

Too Late for Redemption

Sydney Preston | Self-published | June 2018 | ISBN: 978-1-7753157-1-1

When the body of Max Berdahl is discovered in a vacant house, Officers Rossini and Tan investigate a property development where he had forced a widow out of her home. After no suspects are found within her family, a series of chance incidents lead them to the killer and a bizarre motive.

Before setting out to write a series of murder mysteries, Sydney was a flight attendant, advertising copy writer, TV production assistant, foreign movie reviewer, ESL teacher and copy editor/webmaster. All these ingredients in the stew of her life had her living and/or studying in Vancouver, San Francisco, Los Angeles, Rome, London and Sendai, Japan. Along the way she fit in a BA from Simon Fraser University. An avid gardener and life-time singer, she finally settled in Qualicum Beach, the Britannia Bay imagined in her series.. The debut novel, Too Late for Redemption, will be followed by Tone Dead.

Warriors for the Working Day: A Volunteer Fire Fighter's Memoir John Wiznuk | Friesen Press | April 2018 | ISBN: 978-1-5255-1613-9 | 15.59

What’s your vision of a volunteer fire department? Is it fire trucks, screaming sirens, flashing red lights, all daring and glory in bunker gear and helmets? This book shows you another version. A fire department is a vocation with costly assets(buildings, trucks, equipment) to be managed, personnel (whose motivation is community service not a cheque) needing specialized training and practice, fixed-tax-based income (some in the community would like to fix it lower), oversight by regional/ provincial authority, and local politics (occurring in any and every community). The reality plays out, uniquely, in each community and fire service; this book illustrates one small example. And some fire stories too. An accomplished writer, John Wiznuk has been published in the Saturna Scribbler, The Island Tides, Gulf Islands newspaper, with feature articles in Firefighting in Canada, the national fire service magazine, from 1993 to 2006.

Our Precious Bond

Marlene F. Cheng | Marlene Cheng's Bookcase | January 2018 | ISBN: 978-1775191803 | 14.99 Geneva hadn’t planned on falling in love that night. But when the big, handsome, professional hockey player, known only as Y, arrives in her Vancouver Emergency Room with a leg injury, Geneva – the ER physician on duty—feels a strange vibration circling the space, “as if a wind had blown in with him and hadn’t yet settled.” Thus, begins Our Precious Bond—an exquisitely written story of secret love, twin sisterhood, enduring family traditions, and more—all wrapped in an absorbing narrative just waiting to be made into a major motion picture. Seriously, it’s that good.

Five-plus stars to Our Precious Bond. Only rarely do we see such a sweeping story made intimate through the talents of a clear new voice in fiction—Publishers Daily Reviews.

Available on Amazon, Kobo, Smashwords, Ingram For more info visit https://marlenecheng.wordpress.com

Thunderbird's Wake (Stillwaters Run Deep Series: Book Three) Frank Talaber | BWL Publishing LTD | June 2018 | ISBN: 978-1-77299-397-4 | $12.99

Agatha Christie, roll over in your grave, new sleuths are on the prowl. Haida shaman Charlie Stillwaters convinces Carol Ainsworth, a Vancouver detective, to join him as he breaks his way into a high security prison.

The duo are determined to find out who killed the previous native elder before all lightning and thunder breaks loose. They encounter deranged inmates, mystical beings, ancient serpents, wood sprites and someone who should have been dead long ago. Not your usual crime/mystery! Not your usual criminal investigators! You thought Jack Nicholson was mad in The Shining… Wait until you meet Charlie Stillwaters in the Sweat lodge.

Endorsements: "Just when I was beginning to wonder where the next great Canadian story teller would emerge from, Frank Talaber has written a modern crime mystery with a twist. In Thunderbird’s Wake Talaber weaves the richness of Canada’s west coast aboriginal spirituality into the science of modern forensics. CSI comes to Haida Gwaii as the shaman and the detective conduct an investigation that will take them and the reader on a journey to a place where murder, redemption and ancient mysticism intersect."

Michael G de Jong, QC Minister of Finance, Government House Leader, Province of BC.

Listening to the Bees

Mark L.Winston & Renée Sarojini Saklikar | Nightwood Editions | April 2018 | ISBN: 9780889713468 $24.99 Available in bookstores and online via Harbour Publishing. Listening to the Bees is a collaborative exploration by two writers to illuminate the most profound human questions: Who are we? Who do we want to be in the world? Through the distinct but complementary lenses of science and poetry, Mark Winston and Renée Saklikar reflect on the tension of being an individual living in a society, and about the devastation wrought by overly intensive management of agricultural and urban habitats.

Listening to the Bees takes readers into the laboratory and out to the field, into the worlds of scientists and beekeepers, and to meetings where the research community intersects with government policy and business. The result is an insiders’ view of the way research is conducted—its brilliant potential and its flaws—along with the personal insights and remarkable personalities experienced over a forty-year career that parallels the rise of industrial agriculture.

The House of One Thousand Eyes

Michelle Barker | Annick Press | September 2018 | ISBN: 978-1-77321-071-1 | Life in East Germany in the early 1980s is not easy for Lena. After losing her parents in a factory explosion and a stay in a psychiatric hospital recovering from trauma, Lena's greatest joy is spending time with her beloved Uncle Erich. But when Erich disappears, Lena is determined to find out what happened to him. Lena's courage lights the way despite the rule of autocratic despots and government spies everywhere.

Starred review from Kirkus A Fall 2018 selection from the Junior Library Guild

Vancouver's Spirits, Stillwaters Run Deep Series: Book Two Frank Talaber | BWL Publishing LTD | September 2017 | ISBN:978-0-2286-0304-7 |

Vancouver’s mayor is found brutally slain in Stanley Park. His family is missing. An enigmatic old native, claiming to be a shaman, shows up swearing he knows the answers and disappears without a trace. After a night of drunkenness a reporter wakes up in a part of town he’s never visited and begins having strange nightmares of a life not his. Which begs him to question the urban myth, when you get drunk enough you don't remember anything you did? Could it be possible there's a place where spirits might take over to have a little fun on their own? A slain Biker returns from the dead seeking vengeance. An ancient witch/succubus has been set free from her imprisonment. A boatload of ancient gods arrives to the rescue. Only they haven't quite grasped the concept of modern civilization.

So begins Carol Ainsworth’s first day on the job as a detective.

The Quest

Manolis Aligizakis | Ekstasis Editions | June 2018 | ISBN: 978-1-77171-283-5 | The Quest is the story about a young boy’s dream of someday returning to his family’s home on the island of Crete. Pericles grew up listening to his grandfather tell stories of the Greek myths and life in the family’s former home. His family had come to live in Romania before Pericles was born but he is determined that someday he will go back to Crete himself. By the time Pericles is old enough to embark on his quest, Romania is in Communist hands and it is impossible to leave the country.

Determined, Pericles travels on foot, alone through the mountains. Eventually he arrives in Greece, but life there isn't what he expected. The country is under a dictatorship. The people of Greece are impoverished and disillusioned. Pericles makes his way by boat to Crete, but life there isn’t as carefree as his grandfather had described. The people are suspicious and wary of strangers. What is most surprising is the shocking revelation that he learns about his grandfather.

Marjorie Her War Years

Patricia Skidmore | Dundurn Press | August 2018 | ISBN: 978-1-45974-166-9 | $30.00 Her family broken apart and her identity taken away, she had to forget her past in order to face her future. But forgetting isn’t forever. Taken from their mother’s care and deported from England to the colonies, ten-year-old Marjorie Arnison and her nine-year-old brother, Kenny, were sent to the Prince of Wales Fairbridge Farm School on Vancouver Island in September 1937. Their eight-yearold sister, Audrey, followed the next August. Marjorie's new home was on an isolated farm—a cottage she shared with at least ten other girls and a “cottage mother” at the head, who had complete control over her “children.” Survival required sticking to bare essentials. Marjorie had to accept a loss, which was difficult to forgive. Turning inward, she would find strength to pull her through, but she had to lock away her memories in order to endure her new life. Marjorie was well into her senior years before those memories resurfaced.

Tweets from the Trenches: Little True Stories of Life & Death on the Western Front Jacqueline Carmichael | Self-published | August 2018 | ISBN: 978-0-9939717-0-9 | $20.00

Tweets from the Trenches: Little True Stories of Life & Death on the Western Front (168 pages) tells over 100 little true stories from WWI. Written in flash documentary creative non-fiction, there’s original poetry plus excerpts of journals, letters and memoirs of Allied soldiers from Prince Edward Island to Yorkshire to South Carolina. With a picture on almost every page, it touches on everything from brave homing pigeons to post-traumatic stress disorder. In 2016, Carmichael walked portions of the Western Front where both her grandfathers were soldiers in WWI. Carmichael's work has been seen in The Dallas Morning News, the Edmonton Sun, Entrepreneur Magazine and the Westerly News. ‘A book and a journey’—Autumn Phillips, The Charleston Post & Courier. ‘Brimming with vibrancy’ —Wayde Compton, The Writers Studio, SFU. ‘Fast-paced... poetry paired with journalism’ —Yvonne Blomer, author Sugar Ride.

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