Freelance Aug Sept 2014 by Admin Assist

Freelance August / September 2014 Volume 44 Number 5

In this issue: Travel Writing

Some Like it Hot: Romantic Suspense Space Opera 2014 SWG Conference Details

Contents Executive Director’s Report. .............................................................................1 President’s Report .............................................................................................2 SWG Welcomes New Staff ...............................................................................3 Short Grain Winners ........................................................................................3 SWG Organization Chart ................................................................................4 Travel Writing ....................................................................................................6 Some Like it Hot ...............................................................................................8 Kay Parley: Words! Words! Words! ..............................................................10 Libraries Inspire ..............................................................................................11 Gary Hyland: Becoming a Writer .................................................................12 Foundations Legacy Project Survey .............................................................15 Caroline Heath Survey Results ......................................................................16 Hyland Volunteer Award Nomination Form ..............................................17 2014 Conference Pull Out Section ...............................................................19 Conference Workshop Bios ...........................................................................25 AGM Motion ...................................................................................................26 SWG Board Nominations ..............................................................................27 Building Rapport With Editors .....................................................................28 Crafting The Characters of Your Children’s Fiction III ..............................30 Space-Time Continuum .................................................................................32 Windscript Vol. 31 Submission Guidelines ...................................................34 Books By Members .........................................................................................36 Calls of Interest ................................................................................................40 Professional Development .............................................................................42 Member News ..................................................................................................43 SWG Highlights ...............................................................................................44

Contributors to this Issue: Edward Willett Alison Lohans Kay Parley Linda Aksomitis Gary Hyland Ryshia Kennie Toby Welch

On the Cover: Silence, oil on canvas, 2008 Monique Martin is a multi-disciplinary artist and art educator. Monique works in printmaking, clay, sculpture and pastels. W: moniqueart.com

Vol. 44 No. 5/Freelance Aug/Sept 2014 ISSN 0705-1379

© Saskatchewan Writers’ Guild, 2014 Freelance is published six times per year for members of the Saskatchewan Writers’ Guild. Submissions to Freelance are welcome for editorial review. If accepted, articles will be edited for clarity. The basic criteria to meet in submitting materials are readership interest, timeliness, and quality and following the standard submission format (see SWG website). Viewpoints expressed in contributed articles are those of the authors and do not necessarily reflect the position of the SWG. We do not accept poetry or prose at this time. Copyright for articles, reports, photographs, and other visual materials or text remains with the creator and cannot be used or reprinted without permission. SWG pays for one time rights/use only. Payment for articles and reports is 10 cents a word. Photographs and other visuals are paid at a rate of $25 each. Cover art payment is $75. Deadline for the next issue of Freelance: Sept 15, 2014. SWG BOARD OF DIRECTORS Jeanne Alexander (President), Regina; Gina Rozon (Vice-President), Regina; Bevann Fox (Treasurer), Regina; Heather Getz, Regina; Tekeyla Friday, Swift Current; Marianna Topos, Regina; Brian Cobbledick, Regina. Design & Layout Corey Wilkinson

Contact Us SWG Regina Office Contact P: 306.757.6310 Toll Free: 1.800.667.6788 F: 306.565.8554 E: info@skwriter.com or swgmedia@skwriter.com W: skwriter.com Mailing Address Saskatchewan Writers’ Guild Box 3986, Regina, SK S4P 3R9 Regina Courier or Drop-Off Address 1150 8th Avenue, Suite 100 Regina, SK, S4R 1C9 SWG Saskatoon Office Contact P: 306.955.5513 F: 306.244.0255 E: saskatoon@skwriter.com Mailing Address Saskatchewan Writers’ Guild Bessborough Hotel Suite 719- 601 Spadina Cresent Saskatoon, SK, S7K 3G8

The Saskatchewan Writers’ Guild gratefully acknowledges the support of SaskCulture, Saskatchewan Lotteries Trust Fund and the Saskatchewan Arts Board

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Executive Director’s Report

ne of the most important aspects of being a writer is payment for the creative work we do. In an effort to establish an understanding of where writers in this province currently stand in the economic milieu of the industry, the SWG is conducting research through a number of avenues. We hope all of you will participate in some way, whether it is through our online survey, as part of a focus group or simply sending us your thoughts individually. We would also like you to let other writers know about our research to help us achieve information as comprehensive as possible. The results will help the board and staff to ascertain ways in which to lobby various government levels and funders and inform programming and services. Research is another aspect of writing that I think I can safely say most, if not all, writers must do, regardless of the type of writing they undertake. Personally, I find research extremely important not only in my writing projects, but also in the operations of the Guild. Gathering facts garnered from several perspectives means a more accurate foundation to make reasonable decisions that will benefit the good of the whole organization. This is certainly the case when making administrative or operational decisions. A Capacity Building Grant from SaskCulture allowed the Guild to be able to research the aforementioned economic status of writers, and another gave us the opportunity to study and develop the Guild’s new Equity, Diversity and Inclusion Policy. Research into the direction Grain magazine will take after the fall is ongoing, with material being collected by the ad hoc committee, from other magazines, organizations, and funders, along with legal advice, statistics and financial figures. Although not an easy task, the Board will have a comprehensive package of researched information to consider in their deliberations. In other news, the Saskatchewan Writers’ Guild recently garnered a seat on the University of Saskatchewan Senate, which begins in the fall. Having insights into the university’s workings and offering literary-based advice is an honour for our organization. Although programming is at a minimum over the summer months, we are gearing up for a very busy fall. More live streaming noon-hour sessions, professional development workshops, readings and other activities are already in the works. Readings in the Market in Saskatoon continue into

the fall, and we thank all of you who participated in Words in the Park in Regina to make this past summer special. Our major upcoming event will be the annual SWG conference, once again presented in partnership with the Ânskohk Aboriginal Literature Festival, from Oct 24 -26 at the Park Town Hotel in Saskatoon. Besides the plethora of activities, we invite you to attend the Annual General Meeting and to consider volunteering to sit on the Board. You’ll find information about what this entails in this issue of Freelance. A little bit of your time can make a big difference in the future of the Guild. You’ll find the outline of the entire conference, plus the registration form as a handy pull-out in the middle of this issue as well. We hope to see you all at the conference! Best Regards, Judith Silverthorne

Judith Silverthorne

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President’s Report

s the summer progresses the SWG staff and Board are continuing to work towards the betterment of the Guild, with literary events that are thriving and new partnerships with both the public and private sectors. An example of the Guild’s continued efforts to maintain and foster new partnerships has come in the form of the daily workshops facilitated by Samantha Racette at the North American Indigenous Games during their five-day event in Regina.

The SWG Board met in June for a board meeting and daylong retreat facilitated by Flo Frank of Common Ground Consulting to discuss the SWG’s strategic plan for the next three years. Members of the Board are all in agreement that the SWG exists to promote the art of writing and to be supportive of writers. The preceding statement is deceptively simple. The complexity of it emerges when one considers the scope of all writers in the province and of all those involved in the writing process as well as their public. Consideration is given to writers at various levels of experience, of various genres, in a multiplicity of milieus and a diversity of demographics. Add to this already diverse mix, questions of how this is funded and managed in order to provide a sustainable, viable organization need to be addressed and constantly maintained. The SWG is a leader not only in Saskatchewan, but with many members who have had success nationally and internationally, the Guild is becoming a leader in the wider writing community. As I grow in my position as President of the Board, I am gaining a profound respect for the efforts and accomplishments of our members and Guild staff. The Ad Hoc Committee, regarding the future of Grain, is in the last stages of preparing their findings. Having chaired the committee for the past two months I have gained a greater appreciation for the scope and breadth of the programs and the diverse needs of our members. Committee members are to be thanked for their interest and passion. Congratulations to Ken Mitchell, the founder of Grain, for recently being awarded the University of Regina’s first honorary Doctor of Letters. Dr. Mitchell, a Professor Emeritus of English at the University, a performance poet (cowboy poetry), and author has been a founding member of many literary events and organizations worldwide. Congratulations are also sent to Jean Freeman who was awarded an honorary Doctor of Fine Arts. A performer, writer, director, and communicator she was instrumental in establishing the University’s certificate program in

Public Relations. More information about these two welldeserving personalities is available at: uregina.ca The SWG Board plans to meet in Swift Current in late September in conjunction with Culture Days. We are looking forward to meeting with you in Saskatoon at the SWG’s annual Fall Conference. In preparation for the SWG Fall Conference, nominations are now being sought for several SWG Board positions for the upcoming year (see the Call in this issue). Please consider volunteering. For anyone who is interested in allowing their name to stand or knows of someone the nominating committee should approach, please contact Jeanne at jalexander@ sasktel.net. Respectfully submitted, Jeanne Alexander President of the Board of SWG As a Board we are committed to providing the structure for the enhancement of members’ experiences. We encourage and invite any comments, queries or suggestions you may have. We ask that they be directed to Judith Silverthorne, our Executive Director. Should you want further clarification, please write a letter to the Board or fill in the appropriate form on our website: www.skwriter.com/about-the-swg/ contact-us. Misinformation and lack of information are the biggest culprits when effective communication doesn’t occur. We ask for your input in helping to create and maintain a viable organization.

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SWG Welcomes New Staff SWG Anounces New Saskatoon Program Coordinator

he SWG is pleased to announce that Wes Funk has been hired as the new part-time Saskatoon Program Coordinator. Funk’s career encompasses a broad spectrum of creativity and innovative thinking. As a former recreation therapy worker, he is accustomed to event planning, multi-tasking and simply ‘going with the flow.’ His first novel Dead Rock Stars was incorporated in university curriculum and his following books have achieved various accolades. Besides participating in author readings everywhere, Funk has conducted numerous creative writing, publishing and marketing workshops across the country. A love of Saskatchewan, a strong belief in diversity, and a passion for pop culture are all strong themes in his work. He is also the host of the Shaw TV weekly program, Lit Happens. Wes can be reached at: saskatoon@skwriter.com

Short Grain Winners Announced By SWG Staff

inners of Grain Magazine’s 26th Annual Short Grain (with Variations) Contest. Boy, oh boy did our judges have a tough time this year! But after careful consideration the results are in and we’re pleased as punch to announce this year’s Short Grain Contest winners. Our judges this year were Kathleen Winter (Fiction), and Ken Babstock (Poetry). Congratulations to the winners!

Poetry 1st Prize: “Take the first left and it’s two blocks down” by Michael Prior 2nd Prize: “The Mountaineer” by Cassidy McFadzean 3rd Prize: “Cumulative Exposure” by Danielle Janess Honorable mentions: “Ophrydium Versatile” by Brent Raycroft and “50 infinity” by Danielle Janess

The judges’ comments as well as the winning entries will Fiction be published in Grain’s Winter 2014 issue, 42.2. Contest 1st Prize: “Dog-at-Large” by Dennis Porsnuk prizes donated in part by Cheryl & Henry Kloppenburg, 2nd Prize: “Fernando’s Finger” by Jane Stevensen Barristers and Solicitors, Saskatoon. 3rd Prize: “Getting Along” by Chad Durling For more information on the history of Grain, and a list Honorable mentions: “Scorpion Tattoo” by Ashley Little of past Short Grain winners, check out the Grain website: and “Badly Drawn Star” by Dave Pescod grainmagazine.ca

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Build Rapport With Editors By Toby Welch

ditors aren’t the devil that some writers make them out to be. They don’t have almighty powers either. Most are somewhere in the middle. Building a positive relationship with your editors is one of the keys to being a successful writer.

• Make sure your submission is crisp and clear; faded or unreadable fonts are annoying.

Megan McMorris, a past magazine editor in New York City, shared thoughts on this subject in The ASJA Guide to Freelance Writing, “You don’t have to be friends with your editors. Many writers prefer to maintain strict business relationships. But many successful freelancers want to get to know the editors whose work and judgment they admire. It’s important, however, not to be too pushy. Start on a professional note before you move on to small talk. If an editor is all business, even when you make a gingerly step or two toward extending the relationship onto a personal level, forget it.”

• If an editor rejects your story or pitch, say thanks and move on. Do not try to convince the editor to change his mind.

Editors are much more likely to work with writers they like personally and professionally. This should be in the forefront of your mind even before your initial contact with an editor.

• Never, never, never mention how much your mother or your best friend loves your work.

• A brief e-mail or note is acceptable to follow up on a submission after a reasonable time frame. Never call an editor to check on a submission unless they specified it was fine to do so. It is vital you be persistent without being pushy and there is a very fine line between the two. • When it comes to deadlines never allow yourself to think they are negotiable. When an editor gives you a deadline write it in permanent marker on your calendar and consider it as solid as if you’d chiselled it in stone. Only a life or death circumstance should

Here are suggestions on how to get on an editor’s good side, compiled from those who hold the job: • When pitching an idea to a book or magazine editor, do your research; make sure what you are proposing is in their scope of work. Don’t query a safety magazine an idea about dollhouses. Don’t query a children’s book publisher your erotica story. • When contacting an editor, make it clear right away what you want. Get right to the point in your query or cover letter. • Triple check the spelling of an editor’s name and their gender before sending off your submission. Never assume an editor is male or female by their name. • In a bio or CV, keep the details relevant to your writing career. The editor doesn’t want to hear that you are the president of your knitting club unless you are pitching a how-to book on knitting. • Never send work to an editor that isn’t your absolute best. Submitting a manuscript or query letter with typos and mistakes makes it easy for an editor to say no.

Freelance Magazine Advertising Rates We accept classified and display ads at the following rates:

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have you approaching an editor for an extension. If the unthinkable has happened and you know you won’t make your deadline, let the editor know immediately; do not wait until the day the piece is due. • Don’t whine or complain to an editor. They don’t want to hear about your unsympathetic spouse, the technological difficulties you are having, or the outrageous car repair bill you have. They have enough of their own issues to deal with. • Don’t take writing critiques as a personal attack. When you’re asked to do edits or revisions plaster a smile on your face and get to it. • Double check your sources and triple check your facts before sending in material. Make sure all names are spelled correctly and the information is accurate. • Never try to pass off a promotional piece of writing as an article. Editors can see right through your attempts and will not be impressed. • Spend as much time and energy on query letters as you spend on articles and stories. • Don’t skimp on research. Find the answers to those tough questions. Err on the side of doing too much

research versus not enough to ensure a well-rounded article or story. • Never promise something you can’t deliver. If the editor wants a particular picture, a specific source included in an article, or a piece done by a certain day don’t commit to it unless you are 100% certain you can follow through. It is essential that editors know you are reliable. This may seem like a no-brainer but don’t stalk an editor. It sounds farfetched but by the number of editors who say it happens, it is a reality for many of them. One editor shared the annoyance of a writer who, in his quest to follow up on a query, emailed the editor twice and called four times within 48 hours. Your passion and enthusiasm can come off as desperation and even freakishness if you aren’t careful. McMorris has some final thoughts, “Probably the best piece of advice is to remember that editors are human too. Don’t forget to e-mail or call them with thanks for a job well done. Treat them as you would want to be treated, and you may find yourself at the beginning of a productive professional and personal relationship. Toby Welch has been a full-time freelance writer for a decade. You’ll find her at tobywelch.ca

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Travel Writing By Linda Aksomitis

ravel writing, surprisingly, is a genre that’s been around since at least the 2nd century AD when Pausanias wrote the Description of Greece. Narrative travel stories and travel diaries gained wide popularity during the Song Dynasty in medieval China, and, of course, the English classic by Jonathan Swift, Gulliver’s Travels, has been continuously in print since its publication in 1726. So, it should come as no surprise that over 10 million writers today blog about travelling! Of those, only a few thousand take travel writing to the professional level— and I’m one of them. Sub-genres of Travel Writing There are, of course, many different markets for travel articles in both the traditional print world and on the Internet. Book form travel guides are popular as well.

The sub-genres of travel writing are as diverse as the destinations they describe. However, they fall into the same basic styles as other types of nonfiction (Swift’s fantasy aside!): factual and creative, that includes many of the same writing elements and options as fiction. Factual Travel Writing Let’s start with the sub-genres of factual travel writing: • Service articles • Events • Destinations • Reporting • Dining or “Foodie” writing • Subject or themes All of these sub-genres focus on delivering information up-front, more in the style of newspaper reporting. The purpose of the piece is what differentiates them. Service articles are the type of articles often found in traditional publishing—they include the “if you go” kinds of information you look for to plan a holiday. These articles require a lot of research to ensure accuracy and full coverage of a destination, since they generally include current prices and seasonal information on opening and closing dates, along with hours open. Much of the information is included in sidebars and point form, so readers can skim through it quickly. In print, service articles quickly become outdated. This problem can be avoided on the Web by including links to the destination instead, since businesses update annually.

Linda Aksomitis kayaking during her travels. Photo courtesy Linda Aksomitis. Event information can often be included in service articles, or events can stand-alone. I research this type of article a year ahead, so I can participate and get an idea of what happens at the event, plus take my own photos. Some writers, however, write on events without attending, especially if they’re familiar with the area. Pitching event articles is also very time-sensitive, so you’ll need to know the lead-time for publications you feel are a match. Destination articles are the mainstay of many publications with travel departments. These pieces take an overview of a place—it can be as focused as a single resort or as broad as a whole province, like what to do in Saskatchewan in July (my next article!). This type of writing is strictly factual and rarely includes any of the writer’s opinions or recommendations. Like service articles, destination pieces require a lot of research to ensure accuracy. While visiting the destination is good, both destination pieces and travel guides can be written through research alone. Most travel guidebooks fall into the destination category, plus include a lot of service information, so if you’d like to write books on travel, this is a good market to explore. A number of publishing companies also look for authors to research and write periodic updates to new releases of existing travel guides.

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Reporting articles, as you might imagine by the name, also require a lot of research. In fact, you might not identify this type of article as travel at all, since it can focus on any topic to do with a destination, such as the effects of Hurricane Katrina on New Orleans. My favorite type of reporting usually revolves around a historical aspect of a destination, such as Helen, Georgia—this town reinvented itself three times in a century and is now a “fairytale” small town that you might expect to see in the German state, Bavaria. Unlike these first types of articles, food guides or “foodie” articles, are a must to include firsthand information. If you haven’t eaten at the restaurant, then you can’t provide the types of details readers look for, such as the atmosphere of the dining room or the unique tastes of the entrés. While food articles always include restaurant addresses, reservation information (or links), and comments on the décor, some publications also want pricing information. I often do food articles as part of a subject or theme round-up article. I pull together restaurants in a specific location (cities are good), or offering specific types of food (seafood or desserts—my favorite!). The advantage to doing round-ups with subjects or themes is that I can include destinations or stops I don’t feel merit a full article, even for a blog post, but are worthy of a mention. Or, with my blog, I add a few new items to round-ups along with short summaries of destinations I already have articles on that I can link to and give new life.

Adventure articles can share similarities with travelogues, as they may read like single entries pulled out of a diary. This is my favorite type of travel article, mainly because I love the research! I’ve covered both hard and soft adventure experiences from whitewater rafting right through to kayaking, rappelling, zip-lining, sleeping at the ice hotel, and more all written in a very close first person style that lets the reader experience the destination vicariously. Another great thing about adventure articles is that they’re timeless, as the focus is on the writer’s unique experience as much as on the destination. That makes them a great choice for all types of Internet publications. Inspirational articles, also popular on the Internet, are timeless too. They share many characteristics of travelogue and adventure articles, but shift the theme of the article from a rush of adrenalin or a breathtaking view, to an epiphany. This type of article brings closure to a writer’s experience by showing how travel has changed the author in some way. And that brings us to the last type of travel article, also one of the oldest, the travel essay. Like the traditional essay, it must start with a thesis, work through supporting information or arguments, and arrive at a conclusion supported by the evidence. Since it’s more formal in style, this type of travel article appears in more travel journals, as opposed to trade magazines, whether they’re found in print or on the Web.

Creative Travel Writing

Getting Started

While I do write a lot of factual travel writing articles, I prefer the creative sub-genre as it not only has a more interesting writing style, but lets me focus on my experiences and to provide insights to my readers—and, looking at the traffic on my website, it’s what my thousands of registered users and followers prefer too.

Getting established as a travel writer can be as easy as being community-minded and participating in local events, dining at nearby restaurants, and keeping on top of local trends. In fact, the advice from many writing instructors to “write what you know” applies equally in this genre.

Creative travel writing is broken down into: • Travelogues • Adventure • Personal Experience • Inspirational • Essay Blog travel sites are often called travelogues, as they may follow a journal or diary approach to organizing and writing the articles. Many writers, especially hobbyists, write the posts while they’re on the road, so travelogues can be in short installments daily, or even a couple of times a day, to make readers feel like they’re part of the trip. Today’s microblogs (like Facebook and Twitter) lend themselves well to the travelogue format—and Twitter posts can even be pulled together (curated) at a later date to publish together through online curation services (like Paper.li) to make them accessible longer.

I fell into travel writing by accident, when I decided to try to sell some articles after a trip to Mardi Gras in New Orleans, so I could write off some of the expenses at tax time! I’d never even heard of travel writing before, so was shocked to learn that it was really my dream job. New travel writers today have lots of options. The proliferation of travel websites means there are many markets, although you may have to search to find paying markets among them. Many revenue-sharing websites, such as HubPages and Squidoo, have travel sections you can contribute to and have the potential to earn income through affiliate programs like Google AdSense. Far more than income though, the biggest advantage to writing travel articles, at least for me, is that I can go anywhere and do anything I want, and still call it work, because I’m writing about it. If you’d like to learn more about finding online markets for your travel writing, check out her course, Introduction to Internet Writing Markets, offered online at over 4000 community colleges around the world.

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Romantic Suspense: Some Like it Hot By Ryshia Kennie

“He wanted to kill him as brutally as others had been killed. He wanted to watch him bleed, hear him scream.”

S 8

o opens my romantic suspense, Intent to Kill. There isn’t a word of romance in that opening, or for that matter, in the first chapter, or the second, or even the third. The heroine, Claire, is intent on a journalistic coup. And the hero - he’s chasing a killer. And somewhere in those two opposing goals lies the common ground or the danger that they will both soon share. The romance will be as much a surprise to the characters as the danger that they haven’t quantified. That’s not how every romantic suspense novel is crafted but one thing they all share is danger and romance. They are stories of people falling in love yet they are also stories that contain deadly threats and protagonists who must fight to survive. It seems like an odd combination and definitely not light beach reading, but the thrill of romance with a slice of danger has many readers hooked. What draws us to a form of literature that serves up elements at opposite ends of the emotional spectrum – hope and fear, love and hate? To understand romantic suspense we must go back to its roots, to fiction as a whole, because suspense is present in all forms of fiction. It has been since we first began storytelling around campfires beneath starlit skies that were empty of satellites and planes, skies that were virgin and clear of light pollution. Those stories, like today’s stories, had a common element: the unknown. That was the draw. We wanted to know what happened to the characters: Were the fates kind to them? Did they live? Did they triumph? The suspense is in not knowing. It is the magnet that attracts us again and again to fiction in all its forms. But what if we do know part of the final outcome, or at least we can safely assume what it will take place? In many cases we can, because in fiction there are often guarantees. In most suspense and thriller fiction including romantic suspense, the guarantee is that the protagonists live; not only that they live but that they triumph. So if we know the outcome, then where’s the tension, the fear for the character?

Ryshia Kennie. Photo courtesy Ryshia Kennie. As Psychology Today states, most entertainment is suspenseful because it provides a form of uncertainty that grabs our attention as we suspend belief. So even when we know that the hero is not going to die, we continue to read because we want to know the actual outcome and because the reward for suspending belief allows us to live with a virtual danger and that gives us a kind of emotional high. Danger. If you thought you were safe, just turn on the news. Danger lies in the faces of strangers and we shiver, fearing for ourselves and those we love. Children are told not to talk to strangers since there is a danger there. That was and still is the case for most children, but as a cop’s daughter I was told to get a good description of the suspect and report home. Could that long ago instruction have led me to write dark stories that are made light only by the promise of love? The shadowed world of extortionists, thieves, killers, and more where dangerous men and women lurk is an unfamiliar place that draws us in the way that the boogieman does children. Remember the stories told in the dark basement as a group of kids gathered – stories of ghosts and other creepy things. Early on there were the fairy tales told to us by adults, some pretty Grimm stuff (pun intended) from brutal bullying (Snow White) to luring small children and then fattening them up for their eventual demise (Hansel and Gretel).

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We teethed on fear, a “Twilight Zone” like fear that was divorced from anything familiar, but terrorizing all the same. According to science, from earliest times we’ve been wired with the fight or flight instinct. That instinct is honed even now and that’s what draws us to things like horror movies, skydiving, and even romantic suspense. We seek the thrill. It’s a high that in today’s age, we still enjoy, that fear fueled rush. We don’t want real danger but even as adults, we want the rush. And that’s where the books, the movies and, yes – even the theme parks and roller coasters come in. The beauty of romantic suspense is that it takes us into those dark, fearful places. The suspense delivers that fearstained rush but the romance takes us into the heart of a relationship and love. It’s a two for the price of one deal. Romance is the counterbalance to the suspense. We may never have to run from a hit man but most of us will experience romance. We’re familiar with the endorphinfueled high of first love, with its mellow but no less rewarding aftermath. Romance is a more likely scenario in everyday life than is meeting a killer on a rain-swept night poised with a Glock in hand. That’s where romantic suspense provides a little balance or something we can relate to. It becomes a tale of the unfathomable paired with the fathomable. Even within the romance that weaves through a romantic suspense, there’s still uncertainty. We’re pretty sure the couple will get together in the end. So there’s an additional feel good emotion happening as we wait for it, that moment when the attraction happens, the moment of that kiss. And then our hopes are shaken in the inevitable dark moment when danger eclipses all and even the romance is jeopardized. Will they get together in the end? Yes, but will it be in the way we want? Maybe we want them married or promised to each other. Maybe we want a hint that their romance will continue to another story. There are so many maybes and mutations to the couple’s togetherness. But first we need to know how they resolve the danger that they’re immersed in and when they resolve it, then at that point we will think – what happens now? Possibly the hero or even the heroine is in a job where they risk their lives on a regular basis while on assignment. This hardly makes for a good or even a possible relationship when one partner is always terrorized that the other will die. Now what? Does that mean there’s no hopeful ending or does that mean that the ending is not quite what the reader expects – they’re together, but… “I wish it were different,” she murmured when they parted. “That we’d met at another time.” “The end is never guaranteed,” he murmured

against her forehead, as if she’d spoken her doubts about him, about this relationship, about everything.” - Intent to Kill, Ryshia Kennie What is guaranteed is a romance that gives us hope that the couple will find a resolution, that when we close the pages of the book we know that they have or will find a way to be together. Finally, that leaves us with the villain, the one causing all that danger and fueling that fear-stained rush. The villain is critical to any romantic suspense and a villain can be human or not. The storm that threatens the coast of Florida and is poised to kill tens of thousands of people is a villain. Although we can’t have empathy for a storm, we can sometimes empathize with our human villains. Sometimes that’s the villain that keeps us reading. If we like him the suspense has just gone up. We don’t want him to die – to be imprisoned or to have any other number of vile things happen to him. In my latest romantic suspense, due for release this fall, the villain is a tortured individual who will kill you without a bit of remorse. He’s a flawed, slightly broken character. He mourns for a lost love, a woman he will never get over and a woman who he fights for even now. We can all empathize with his loyalty, no matter how misguided, and with his pain over his lost love. He becomes human and suddenly he’s not so disposable. The clock is ticking. Dance with death or flirt with romance? Or maybe there is no choice because you’ve just been given the opportunity to dance with both! Ryshia Kennie is the author of From the Dust, Ring of Desire, Fatal Intent, and Intent to Kill, her latest romantic suspense will be released early this fall. ryshiakennie.com

SWG Freelance: SWG FreelanceAug/Sept April /2014 May 2014

Words! Words! Words! By Kay Parley

ords! Words! Words! I’m so sick of words!” sings Eliza in My Fair Lady. After her mentor has tried to enrich her very limited command of the English Language with a wider vocabulary. Those of us who write find it hard to believe anyone would ever be sick of words. To us, words are like garlic or cinnamon to a cook, colour to a painter, or finely-tuned muscles to a runner. They are the way to enhance performance. They cause people to take notice. In the case of writing, they do more than that. They make it possible for our most subtle references to be understood. Speaking of writing, the late Andrew Allan, former head of CBC Drama, said, “The goal is to say something so well that there is absolutely no way of saying it better.” How can one achieve such a goal? Words. It’s a bit like choosing the right tool if you are going to carve a wooden bowl. The wrong one never does the job.

One of the best books I know on the fundamentals of writing is How to Write and Say What you Mean by R.W. Jepson, an original “Teach Yourself ” book. Jepson gives some excellent examples of words which mean exactly the same thing but still can’t be used interchangeably in communication. One such pair are “novelty” and “innovation.” One of my problems is recognizing when a word is obsolete. For instance, Jepson lists six synonyms for “scold” and states that “upbraid” is now obsolete. I am willing to bet a few people might find “reprove” unfamiliar, too, yet my Grandmother Dyer used the word “reprove” as a matter of course. I am always astonished, thinking back, at the words I heard as a child. Grandpa Parley spoke the Doric, the Buchan Scots tongue (You’d have to be there to believe it!). My Grandma Parley spoke Victorian English, well flavoured with colourful Scots dialect. It was on the Dyer side of the family that I really met vocabulary. As a Methodist minister, Grandpa Dyer spoke pulpit English, correct and deliberately forceful. Grandma Dyer had a Pennsylvania Deutsch background, and she had a few words straight out of the 18th century. She was raised in Ontario, ScotsIrish on the other side, and she spoke colloquial English as it was used in the east. The formality of that language was dignified and graceful, but it was also flexible. The Dyer family enjoyed words, laughed at words, played with words, but were careful with words. If anyone misused a

Kay Parley. Photo courtesy Kay Parley. word, someone else in the family was quick to point out that the meaning was hazy. Words had to be right on target. If communication is to be effective, a word must do the exact job it is meant to do. Since my mother and four of her siblings were teachers, it isn’t surprising that my vocabulary was continually expanded. When I was read to, new words were always explained. I should have a much broader vocabulary than I do, but it isn’t too bad. I really became aware of how much my family background had influenced me when I was lecturing at Kelsey Institute in Saskatoon. On more than one occasion, a curious student would ask me the meaning of a word I had used. Often the word was one of Grandma Dyer’s old Ontarioisms that had slipped out of me as naturally as a stream flows. Those words were not only polite, they held certain elegance. It’s a crime what television, substandard books, and sloppy journalism have been doing to the English language. But we still have writers who understand the powerful meaning of words, and still have people eager to get out the dictionary or Roget’s Thesaurus and look them up. Scholarly words are often out of place unless we are writing a thesis. We don’t have to go hunting for the most impressive word in the list. We just have to find the right word.

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

Libraries Inspire By Anne Pennylegion

L play

ibraries and writers are best friends. As a writer, try and imagine your work without access to libraries and the dedicated people who work in them. Libraries definitely do inspire us in our work and

Although we all value our libraries throughout the year, Saskatchewan Library Week (SLW) is a special time set aside to acknowledge the value and unique nature of our exceptional provincial library services. The Saskatchewan Library Association provides a limited number of grants to its’ members to assist with the planning of special projects during SLW. Libraries large and small and from all corners of the province will be “waving the flag” as they host a variety of events ranging from author readings and workshops to afternoon socials. Although too numerous to mention, some of their projects include a nine hole mini golf course constructed within a library where each hole represents a library service, a hands on workshop with a writer that will help patrons gain insight into their own writing as well as the world of publishing, several spooky Halloween readings, a performance by double bassist/narrator Richard Carnegie, a Teen Zombie Apocalypse and a “Polka Dot Potluck” and book discussion based on Mary-Ann Kirkby’s book Secrets of a Hutterite Kitchen. The list goes on and on, but suffice it to say that wherever you live in Saskatchewan you’re bound to have some fun at your local library. Writers will like our provincial project this year. We will be holding a “Book Spine Poetry Contest” from September 22 to November 1 with prizes to be awarded in four categories. Between these dates online submissions will be accepted by visiting: bookspinepoetrycontest.ca. More details will be posted on the website as the date draws closer. Help us recognize our amazing provincial library system and the dedicated library workers who provide us with the information that so enriches our work and leisure time. Libraries (and library workers) Inspire. Please pay a visit to your local branch, school or university or corporate library during SLW. Other Library News Regina Public Library, The Saskatchewan Writers’ Guild and the Saskatchewan Library Association, are pleased to present an afternoon of readings and entertainment on

a multi-cultural theme. On Sunday, September 28, 2014 from 2 - 4 pm at the Regina Public Library Theatre, please join us as we celebrate our cultural diversity through writing and dance. Readers will include Larry Warwaruck, Marion Mutala, Vijay Kachru and Dave Margoshes. A traditional tribal belly dance, in full costume will be performed by Linda Yablonski and her troupe, and tasty ethnic treats will be served. Everyone is welcome and admission is free. For more information, please contact the Saskatchewan Library Association at 306.780.9409 or slaprograms@ sasktel.net Saskatchewan Library Week runs from Oct. 19 to 25.

SWG Aug/Sept SWGFreelance: Freelance April /2014 May 2014

Becoming a Writer: Some Ways and Means On Not Being a Chiropodist By Gary Hyland (reprinted with permission)

any people, successful in other aspects of their lives, would like to be writers but never get around to it. Many successful writers never get around to being successful in other aspects of their lives. Some never get around to being very successful people. Why is that? To make a career or even a respectable avocation of writing is to subject oneself to so many pressures, anxieties, commitments and vagaries the wonder is that the majority of writers are sane and ambulatory let alone nice. The work requires such an unnatural degree of focus and commitment that one has to be willing to risk one’s normal equilibrium, in fact one’s normalcy. Let’s look at some of these destabilizing conditions.

Puffing, trembling, sweating, you peer into the shadows at the back of the empty theatre. You have just finished what you desperately hope will be the last rehearsal of your solo performance. From somewhere in the gloom, punctuated by snorts of derisive cackling, a familiar voice booms through the building. “You’re not going public with that half-baked, cliché‚-studded, second-rate piece of frippery, are you?” You are fumbling with your mask of defiance when the slamming of the large exit door booms through the theatre. That is one of the many reasons you should not be a writer. To get into print, a writer is expected perform appealingly at the beck and call of a demanding audience, especially that sneering critic in the shadows whose voice so resembles your own and who pops up at unpredictable times to impale your self-confidence. Who needs to be ravaged by self-doubt and insecurity? Why not choose a pursuit at which you are more likely to retain your selfrespect? At any time, a snarky reader could be looking at your work and wondering why you didn’t become a chiropodist. And, when one considers the psychic price (not to mention the remuneration), why not be a chiropodist? I’ve been writing for over thirty years. I sat down to write this piece at 7:20 a.m. It is now 10:45 a.m. and, quite typically, I have written five and one-half paragraphs, which my magic machine tells me contain a measly 478 words. I have not been having fun. If I were still a teacher, in this time I might have taught a scene from Hamlet, taken up and assigned a set of compositions, and stirred ninety kids to read a cluster of poems. These five and

one-half wobbly paragraphs will suffer revisions. Any one or all of them might be put to sleep. A sentence or two could survive. Far less likely, they all might pull through with amputations, restorative surgery and splints. Writing doesn’t get easier with time. You might develop more conducive work habits and become more tolerant of the limitations and stresses, but the task itself is so variously confounding, so full of frustrations and anxieties and so challenging that it can never become a stroll in the park. For one thing, the finished product can never be what we first envisage. Plagued with perfectionist tendencies, many writers can only part with their offspring when forced by an inexorable deadline. We seek perfection with imperfect tools-the language with all its gaps and slippery connotations, our minds and bodies that both pollute and filter the vision, our limited knowledge and skills, even the flaws and frailties of our readers. Most curious is the perfectionist writer scourged by self-doubt. Such a person is skeptical even when praised extensively by the most demanding critics. What is wrong with them? Can they not see the glaring deficiencies? Or, even if accepting of the praise, the perfectionist notes that this or that feature went unadmired, no doubt because it was wretchedly crafted. The critic must have missed the defect or was being strangely considerate. Iris Murdock sums up the frustration of the perfectionist when she says, “Every book is the wreck of a perfect idea.” The enormity of what we are attempting is sufficiently daunting to stop some of us before we begin. “Blank pages inspire me with terror,” Margaret Atwood said when she was a much-honored writer of at mid-career. If Atwood is terrorized by the blank page, what adjective can describe the panic that strangles the rest of us? To add further encouragement, Fran Leibowitz notes, “It’s really scary just getting to the desk.” Perhaps there is comfort to be had from being in the company of so many talented writers who fear failure in spite of magnificent past accomplishments. But when an empty page or monitor window yawns in my face, even the knowledge that Shakespeare trembled at the same prospect would not much temper my dread. My greatest fear, one which I share with vast multitudes, is speaking in public. I know that the experience is temporary, that it won’t be any worse than the two root canals I have survived and that I will live to quake another day. But these rational considerations aren’t very soothing.

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

Rationally, in fact, I should be more afraid of writing than speaking, and there are many days when I am. A speech vaporizes from most listeners’ consciousness within minutes. Fleeting verbal transgressions are often difficult to detect. But writing, with all its clunky compromises, is there to proclaim one’s failings for generations. Once it’s published, people I respect can now conclude they don’t like it, can even deride it. Quite accurately, psychologists call such considerations performance anxiety. “Constantly risking absurdity/and death” is how Lawrence Ferlinghetti portrays the poet swaying out there on a high wire of his own construction, the crowd watching his every gesture and expecting a dazzling performance or a gratifying self-destruction. This is an accurate description, not the least melodramatic, of quality writing. Playing it safe, avoiding the edges and the shadows, is every bit as captivating to the reader as watching someone walk a tightrope stretched on the ground. No wonder such an accomplished and insightful author as E. B. White called the writing process “sheer hell” and shunned it as much as he could. Then there is the costume of impersonality, authority and omniscience in which one performs. On examination, this outfit is an empty cloak. The authoritative stance you assume, the techniques you employ, and the control you exert in order to manipulate your readers will fall under scrutiny. Scrutiny brings revelation and one revelation may well be that you are a charlatan. Ever-helpful, psychologists have labeled this fear of the empty cloak-the impostor syndrome. Eminently qualified to pronounce on matters financial, John Kenneth Galbraith nonetheless confessed that when he sat down to write he was plagued by the thought “You’ll be found out.” What will your writing reveal about you? That you have a weak grasp of your topic? That you’re insincere? That you’re boring? That deep inside your bland exterior is an even more bland interior? That your contemptuous characters are standins for you and your family? That you should have been a chiropodist? It is also scary when your work begins to slip out from under your controlling hand and take on a life of its own. The plot shoots off your tidy chart; the characters make decisions against your better judgement; an extraneous idea forces its way into the foreground. You begin to feel like an anxious spectator as your circus tent catches fire. The control freak will fight this tendency and, unfortunately, may win, thus depriving the work of what might have been more interesting material and a deeper authenticity. Having sweated through the work, one can then contemplate the dragons of rejection-editors, critics,

buyers for chains, contest judges and, often worst of all, family members. The previous column discussed the crippling impact of anticipating the reactions of these people. They’re out there; they’re unavoidable; and they don’t appreciate what a sweet, sensitive person you really are. Not a few writers put everything on the line with every book-their reputations, their self-respect, their personal relationships. They usually do so anxiously, not with the casual boldness of the wealthy gambler who risks a huge jackpot that hardly dilutes his fortune. While your writing was roiling in your mind or sitting on your desk it may have been a source of distress, but it was safe and fixable; once it has been accepted and released anything can happen. The tales of horror range from reader-thwarting font selections by publishers to finding your book in the remaindered bin after three months on the floor-level shelves. For many writers the thrill of receiving their newly-minted book is mitigated by such apprehensions as the certainty they will never again write anything as worthy or, conversely, that they should never have let this misshapen thing out to nauseate the world with their name (spelled correctly if they are fortunate) on the cover. All these frustrations and anxieties are real. Pretending they don’t exist is naive and detrimental. But they need not be fatal or even crippling provided writers have the fortitude to confront them and the skills to handle them. Like the chaotic forces of nature, they can even be harnessed to produce energy for powerful writing. Those wanting more on this topic should read The Courage to Write: How Writers Transcend Fear by Ralph Keyes. Published in 1995, this book is the first to deal so frankly and extensively with the many fears that can encumber writers. It may also be a revelation to those writers who consider themselves fearless. For those keeping score, two versions of the original five and one-half opening paragraphs referred to in what is now paragraph four survived to this draft, not without considerable first-aid. I confess: at one point that paragraph four was the opener of a piece that started out to be about the difficulty of starting out. Only three sentences of those original paragraphs went unaltered. Such, such are the ordained ways and rituals of this “our craft and sullen art.” For those who prefer other perils, there’s always chiropody. This article was originally printed in Freelance June/July 2000. It was the 32nd article in a series that considers the ways people become creative writers. Gary Hyland was an award-winning poet whose books included After Atlantis and White Crane Spreads Wings.

SWG Aug/Sept SWGFreelance: Freelance April /2014 May 2014

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

SWG Foundation Legacy Project Survey Questionnaire The SWG Foundation is proposing to either purchase or build a building to house the Saskatchewan Writers’ Guild and other associated cultural groups with the intent that rent be paid by all of these organizations. This ‘rent’, once the building is paid for, will in turn be donated to the Guild to assist with operations and programs rather than having to rely on Lottery funding. This “Legacy Project” building could be used for a number of functions, such as to house the Guild library, meeting rooms, workshop rooms, spaces for writers, and for holding lectures, readings and other activities. Your opinion on the possibility of the Foundation procuring a building to be a home for the Guild is appreciated.

Completed surveys can be dropped off at the SWG office in Regina. Additional membership consultation will be conducted should the decision be made by the Foundation to move this project forward. 1.

Do you support the idea of the Foundation constructing or acquiring a building generally? Yes No If answer is no discountinue survey, but your comments are welcome. Comments:

Do you support in concept the idea of the building having leased commercial space to the Guild and other Orgs? Yes No Comments:

Do you have a preference as to the location of the building being in A. Saskatoon B. Regina C. Other: ________________________

Do you have a preference for the location of the building? A. University campus B. Downtown area C. Core/Central area D. Suburb E. Any of the above? F. Other: ___________________

Do you have a preference as to the building being a new build or an existing building retrofitted? Yes No Comments:

If retrofitted, do you have a preference that the building be a character building or not? Yes No Comments:

Do you support in concept the idea of a building being a home for the Guild offices? Yes No Comments:

Do you support in concept the idea of a building also being a place (check as many as apply) A. For courses and workshops to take place? B. For events and activities (readings, festivals, launches, etc.) to take place? C. To house the Guild library D. To house a writer-in-resident or guest presenters? E. For other organizations to lease and hold events? F. Other features: __________________________________

Do you support in concept the idea of a building being a place for writers to go to write? Yes No

10.

If yes, would this be on a A. Daily/weekly basis during regular work hours? B. Daily/weekly basis, including evenings or weekends? C. Daily/weekly basis including overnight lodging? D. All of the above?

11. Do you intend to financially support the Legacy Building project? Yes No Comments: If so please provide contact information: _________________________ 12. Do you intend to support the Legacy Building project with your time? Yes No Comments: If so please provide contact information: _________________________

For more information email: info@skwriter.com

SWG Freelance: SWG FreelanceAug/Sept April /2014 May 2014

Caroline Heath Survey Results By Judith Silverthorne

adly, only four people responded to the Guild’s Caroline Heath Memorial Lecture Survey. Even so, the answers varied widely from those who regularly attended the lecture to those who didn’t, those who found it too academic to those who believed it to be the highlight of the conference, and one person who thought the SWG members shouldn’t have to fund the lecture to those that suggested asking for donations at the door in order to have the privilege of hearing someone who is distinguished, stimulating, and knowledgeable. As we had originally wanted member input about the importance and viability of this historic lecture, the lack of interest in the survey and the few responses will not be used as a guide. Of course, the SWG wants to keep the Caroline Heath Memorial Lecture series at the annual fall conference, and of course, we want to continue to honour Caroline Heath’s name.

Where to generate the funds to keep it alive is still very much a problem. The SWG has tried to find sponsors and initiated a number of other activities, including bringing in bigger names, and more diverse presenters. We will continue to ask the members for assistance, whether it is for ideas, donations or other methods to help keep this

important program alive. After all, the lecture series is an SWG activity. And yes, we do have a plan to revitalize the Fund. How can you show your support? We’re glad you asked. Volunteers are needed for an ad hoc committee to help us run an online auction fundraising project with all proceeds going to the Caroline Heath Trust Fund. The idea is to procure a number of literary-related items from well-known authors and literary luminaries, and auction them online nationally. These auction items could be autographed books or specially owned personal items. If you aren’t able to be on the committee, perhaps you have something of value to donate or know someone who does? We intend to put this plan into action later this fall, so consider coming forward to volunteer. Donations at any time of the year are always welcome and we will from now on have a place for donations at the door where the lecture takes place. And if you know of any business or institution that would be a willing sponsor or have other ideas we can implement, we’re happy to hear about them too.

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

SWG Freelance: SWG FreelanceAug/Sept April /2014 May 2014

2015 Mentorship Program The SWG Mentorship Program allows developing writers to work in a supportive environment under the guidance of professional writers. The mentor provides the apprentice with one-on-one instruction in the craft of creative writing. The program is open to writers in all genres and will be tailored to the apprentice’s individual needs. The pairs will be in weekly contact and can communicate through Email, phone, and face-to-face meetings. When an apprentice and mentor do not live in the same community, at least one face-to-face meeting is required. The focus of the program is craft development, apprentices should not expect to have a completed manuscript by the end of the program. The program will run from January 1 to April 30, 2015. At the end of the program, the apprentices will give a public reading of their work. There is no cost to apply for this program and there are no participation fees.

Deadline: Applications must be postmarked by September 26, 2014. Call for Mentors The SWG is seeking experienced writers in all genres to participate in the Mentorship Program. Mentors who have participated in the program in the past are welcome to re-apply.

Mentors will be selected based upon the following criteria: • the possession of a significant body of published work • experience as a teacher, workshop leader, mentor, writer in residence, or editor • the ability to commit time (15-20 hours per month) during the mentorship period • Saskatchewan residency Mentors will receive an honorarium of $2,500 for their participation in the program.

Call for Apprentices The SWG is seeking four writers who wish to develop their skills in the craft of creative writing. Eligible applicants will meet the following criteria: • they will have a body of work of sufficient quality to benefit from the program • they will have work in progress when they apply • they will not have had a book published in the genre in which they wish to apprentice • they have demonstrated their commitment to writing by having participated in some form of professional development. • they will be free to devote a significant amount of time to the program: a minimum of 20-25 hours per month. • they will be Saskatchewan residents 19 years of age or older

The results of this competition will be announced in November. The decisions of the jury will be final. Jurors may choose to not make the entire four matches.

For detailed submission guidelines visit the SWG website For more information Contact Tracy Hamon, Program Manager P: 306. 791.7743 E: programs@skwriter.com.

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SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

SWG Aug/Sept SWGFreelance: Freelance April /2014 May 2014

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2014 SWG Fall Conference Schedule Thursday Oct. 23, 2014 Ânskohk Aboriginal Literature Festival Station20 West, Saskatoon (admission by donation) 6:00 - 9:00 p.m. Celebrating Our Story Warriors Please join us for stew and bannock, Métis fiddling and a walk- celebrating Aboriginal authors who have published or produced a work in the past year. Featuring story–iors, Simon Moccasin, Mika Lafond and Lisa Bird-Wilson. The evening will close with a round dance.

Friday Oct. 24, 2014 10:30 a.m.—12:30 p.m. Shaking the Rattle: Poetry as Song and Medicine, an Ânskohk Aboriginal Literature Festival Workshop

Métis poet, author, and performer Gregory Scofield is one of Canada’s leading Aboriginal writers whose seven collections of poetry have earned him both national and international audiences. Join Scofield as he discusses song and salve in poetry. 11 a.m. Conference Registration table opens 1:00 p.m.—2:15 p.m. Mood Swings: Ups and Downs of Writing In partnership with Ânskohk Join writers Diane Schoemperlen, Warren Cariou, Cathy Fenwick, Garry Thomas Morse. Writing is so uplifting and great--other times it’s downright miserable. Join four authors who will share the highs and lows of their writing career. 2:30 p.m.—3:30 p.m. Breaking Free of the Refrain: Thinking Poetry In partnership with Ânskohk Can we get a witness? Poetry, what’s your point of view? Join David Seymour and Garry Thomas Morse as they discuss writing contemporary poetry from the viewpoint of the observer.This workshop is held in partnership with Ânskohk. 2:30 p.m.—3:30 p.m. Indigenous Orality and Contemporary Writing

of Indigenous Peoples, an Ânskohk sponsored event Members of the Aboriginal editor’s circle share some key opportunities and challenges in publishing from an Indigenous perspective when a thousands-of-years-old performative oral art goes from stage to page. Featuring Deanna Reder, Rita Bouvier, Karon Shmon (host). 3:45 p.m.—4:45 p.m. Inside Editing: The Creative Pen Enjoy the fundamentals of editing with editors and writers Elizabeth Philips and Robert Calder as they discuss editing non-fiction so it’s not so dull to bring life to your words. 3:45 p.m.—4:45 p.m. Other Voices: Making Room for Difference In partnership with Ânskohk Being politically correct isn’t always easy in today’s shifting society. Authors Warren Cariou and Alexandra Popoff focus on cultural understanding, exploring who can write about what, when, where, and why. 5:00 p.m.—6:30 p.m. Saskatchewan Aboriginal Writers Circle Inc. AGM 6:30 p.m. – 7:30 p.m. Registration table opens 6:30 p.m. – 8:00 p.m. Supper on your own/Writers Group Supper 7:00 p.m.—8:00 p.m. Social/New Member Reception 8:00 p.m.—9:15 p.m. Caroline Heath Lecture: Diane Schoemperlen Break Every Rule (But Not Before You Know What They Are) 9:15 p.m.—10:00 p.m. Social

Saturday October 25, 2014 9:00 a.m.—10:00 a.m. Get the Scoop: Writer’s Group Chat Networking opportunity for those already in a group or interested in writing groups. Meet and mingle amongst

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SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

Saskatchewan’s many writing group members. 10:15 a.m.—11:45 a.m. Fiction Workshop—Story Arcs make Ending Sparks Help! Do you need somebody? Alice Kuipers will provide exercises on how to make your story sing and will provide ways to help you develop stronger story lines with her workshop on developing story arcs. 12:00 p.m.—1:15 p.m. Ânskohk Aboriginal Festival Luncheon: The Role of Storytelling in Aboriginal Literature 1:30 p.m.—3:00 p.m. Poetry Workshop—Metaphor and Reimagining the Imagination Question: What is a simile? Answer: It’s like a metaphor. Question: How do I make my metaphor better? Answer: You attend David Seymour’s workshop on reimagining language with metaphor. 1:30 p.m.—2:30pm Memoir Workshop—Stories Only You Know Did you hear the one about…me? Everyone’s got a great story to tell, but not everyone knows how to tell it. Get some great tips and tricks on memoir writing by Robert Calder and Alexandra Popoff. 2:45 p.m.—3:45 p.m. Me, Myself and I: Self-Publishing 2014 Join Heather Nickel of Your Nickel’s Worth Publishing and self-publishing guru Wes Funk as they lead through the ins and outs of self-publishing. 4:00 p.m.—5:00 p.m. Readings: Diane Schoemperlen, David Seymour and Garry Thomas Morse In partnership with Ânskohk 6:00 p.m.—7:30 p.m. Cocktails and John V. Hicks Dinner 8:00 p.m.—11:00 p.m. Home Remedies - Open Mic

Sunday October 26, 2014 9:00 a.m.—12:00 p.m. SWG AGM

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Guest Lecturers

Diane Schoemperlen. Photo courtesy Joanne Page.

Warren Cariou. Photo courtesy SWG Archives.

Caroline Heath Lecture

Ânskohk Aboriginal Festival Luncheon

Break Every Rule (But Not Before You Know What They Are)

The Role of Storytelling in Aboriginal Literature

No successful piece of writing happens by accident, not even—or especially—those that venture farthest from the traditional literary forms. Known for her adventurous fictional experiments that challenge the conventional confines of the “rules” of form and function, Diane Schoemperlen will explore the theories and techniques behind writing that not only pushes the literary envelope but that reinvents it altogether. If risking it all in writing is like jumping off a cliff, you’ll get better traction and velocity if you understand the foundation of that cliff. Look before you leap and then make up your own rules to shape the story you want to tell. Born and raised in Thunder Bay, Diane Schoemperlen has published several collections of short fiction and three novels, In the Language of Love (1994), Our Lady of the Lost and Found (2001), and At A Loss For Words (2008). Her 1990 collection, The Man of My Dreams, was shortlisted for both the Governor-General’s Award and the Trillium. Her collection, Forms of Devotion: Stories and Pictures won the 1998 Governor-General’s Award for English Fiction. In 2007 she received the Marian Engel Award from the Writers’ Trust of Canada. Her latest project is By the Book, a collection of stories drawn from old textbooks from the early 1900s and illustrated with her own full-colour collages. Diane is currently working on a memoir called This Is Not My Life. She has lived in Kingston since 1986.

Today’s contemporary story-iors (story warriors) are storytellers, survivors, warriors, visionaries and dreamers, their practices based on long-held traditions Come listen as Warren Cariou spins a tale for hearty consumption over a noon hour meal blessed with the power of words. Warren Cariou was born in Meadow Lake, Saskatchewan into a family of Métis and European heritage. He has published fiction, criticism and memoir about Aboriginal cultures in Canada and has co-directed two films about Aboriginal communities in the oil sands region. He directs the Centre for Creative Writing and Oral Culture at the University of Manitoba.

SWG Fall Conference Accomodation Park Town Hotel

924 Spadina Cres, Saskatoon Phone: 306.667.6073 Hotel block code: Saskatchewan Writers’ Guild Rate: $149.00 per night

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Conference Bios Rita Bouvier is an educator and writer. She has published two books of poetry, Blueberry Clouds (1999) and pâpiyâhtak (2004) published by Thistledown Press. Gabriel Dumont Institute published a collaborative work with Sherry Farrell-Racette and Margaret Gardiner, Better That Way in 2008. A third publication of poetry is slated for publication Spring, 2015.

Heather Nickel is the owner of Your Nickel’s Worth Publishing (YNWP), a small publishing venture that produces books by writers from across Canada. In partnership with its authors, YNWP helps produce some of Canada’s best self-published books. Publishing prairie stories is a great way to indulge Heather’s passion for reading.

Robert Calder is the author or editor of ten books, most of which have been published in Great Britain and the United States, and in translation in Japan and Russia. His Governor General’s Literary Award-winning Willie: The Life of W. Somerset Maugham was described by the Globe and Mail as “an enormously important event for Canadian non-fiction.”

Elizabeth Philips has been writing professionally for thirty-five years and is the author of four collections of poetry, mostly recently, Torch River. She has just completed a novel and is now working on a nonfiction project about dogs. She has edited over forty books of poetry and fiction and is the Director of the Banff Centre’s Writing with Style program.

Widely published in magazines, academic journals, and anthologies, Cathy Fenwick has an M.A. in Clinical Psychology. Her book, Love and Laughter (2004), describes some of the ups and downs of journeying through difficult life events. Cathy’s current mood swings can be attributed to her latest project, a poetry manuscript, exploring multigenerational consequences of covering things up.

Alexandra Popoff is the author of the 2010 awardwinning Sophia Tolstoy: A Biography, the critically acclaimed 2012 biography The Wives: The Women Behind Russia’s Literary Giants, and an upcoming biography Tolstoy’s False Disciple: The Untold Story of Leo Tolstoy and Vladimir Chertkov (November 2014).

Wes Funk is the author of Dead Rock Stars and Cherry Blossoms which won a National CBC Bookie Award. A love of Saskatchewan, a strong belief in diversity, and a passion for pop culture are central themes in his books. He hosts Shaw TV’s weekly program, Lit Happens. Wes Side Story, his long-awaited memoir, was released in 2014. Gerald Hill is a two-time winner of the Saskatchewan Book Award for Poetry. His 6th poetry collection, Hillsdale Book, will appear next year from NeWest Press. Bestselling, award winning author Alice Kuipers moved to Saskatoon from the UK in 2003. Her first novel, Life on the Refrigerator Door, was published in 28 countries. She has published three further award-winning YA novels internationally, most recently, The Death of Us. Her first picture book The Best Ever Bookworm Book will be published this December. Garry Thomas Morse is the author of four poetry titles and four fiction titles, notably Governor-General’s Award poetry finalist Discovery Passages about his ancestral Kwakwaka’wakw First Nations myth, history, and the fallout of Canada’s potlatch ban, and also his outlandish speculative fiction series The Chaos! Quincunx.

While Deanna Reder’s Cree speaking Métis family comes from La Ronge, Île-à-la-Crosse and Lac Doré, she lives and works in Vancouver, BC. She is an Associate Professor in the Departments of First Nations Studies and English at Simon Fraser University teaching courses on Indigenous popular fiction and Indigenous perspectives on Gender and Sexuality. David Seymour’s first book, Inter Alia, published by Brick Books in 2005, was short-listed for the Gerald Lampert Award. His second book, For Display Purposes Only, was released by Coach House Books in 2013. He currently lives in Toronto where he works in the film industry. Karon Shmon is currently Director of Publishing at the Gabriel Dumont Institute of Native Studies and Applied Research, a job she loves because it enables her to advocate full-time for the education and training of the Métis and the preservation and promotion of Métis history and culture. The opportunity to work with Métis authors/ artists is a highlight of her work.

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AGM Notice of Motion: Bylaw Changes By SWG Staff

his is to inform you that the following motion will be presented to the Annual General Meeting to be held at the Park Town Hotel, 924 Spadina Cres. E., Saskatoon on 26 October, 2014.

eight Members-at-Large and the President elected by the membership, plus the Past President. The officers of the Board of Directors shall consist of the President, one Vice-President, the Secretary and the Treasurer.

The following Notice of Motion is submitted to the SWG membership for consideration to amend the relevant Guild Articles of Continuance and Bylaws in accordance with changes required as a result of a contradiction regarding the number of members required on the Board.

Therefore, be it resolved that the Articles of Continuance be changed to be consistent to state: 5. Number of (minimum and maximum number) Directors: Minimum of three and maximum of 10.

Whereas in the Articles of Continuance it states: 5. Number of (minimum and maximum number) Directors: Minimum of three and maximum of 12. And Whereas in the Bylaws it states:

Sunday, 26 October 2014 at 9:00 am

II Board of Directors

Notice of SWG Annual General Meeting Park Town Hotel

1. Number and Offices. The Board of Directors of the Guild shall consist of ten members in good standing,

924 Spadina Cres. East, Saskatoon

Call For SWG Board Nominations 2014 Please consider volunteering. The Nominations Committee of the Board is seeking SWG members willing to let their names stand for one of several vacancies that will occur on the Board in October. Elections to the Board and to the Presidency are conducted at the SWG Annual General Meeting (AGM) held at the Fall Conference. This year the AGM will be held on 26 October 2014 at 9:00 a.m. at the Park Town Hotel. Nominations are needed for the one year President position (second year as Past-President unless re-elected) plus four 2 year terms and two 1 year terms. Remaining on the board for another year of their two-year terms are: Bevann Fox, Brian Cobbledick, Marinna Topos. Willing to let their names stand for another term are Jeanne Alexander (President) and Heather Getz. Please contact, Jeanne Alexander at jalexander@sasktel.net or to the SWG office if you wish to allow your name to stand or if you know of someone the nominating committee should approach. If you wish to nominate someone, please be sure of their willingness to serve before sending their name forward. Thank you. For more information, please contact the Guild office: info@skwriter.com or 306.757.6310.

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SWG Board of Directors Information By SWG Staff

he Saskatchewan Writers’ Guild Board meets 5-6 times per year in Regina, Saskatoon or somewhere approximately in-between. The September meeting is usually held around the province in conjunction with a local writing group. The November meeting is the Board Orientation meeting. At this meeting, members decide who will be on the Executive along with the President. There usually are no meetings in July or August. Travel and accommodation expenses where needed to attend a meeting are reimbursed by the Guild. There are usually ten members on the Board. Aside from the Executive Committee (chaired by the President) and the Audit Committee (chaired by the Treasurer), there are Board committees that members from the board volunteer to chair (Governance and Nominations Committees and special ad hoc committees). The Guild is committed to a collaborative work environment. In support of that commitment, the Executive Director shall be recognized as a trusted advisor to the board and invited to attend and contribute to all board meetings except where the board holding an in camera discussion. Terms: The president shall be elected for a one-year term by a general vote at the AGM. All other directors shall be elected for two-year terms by a general vote at the AGM. Directors shall be elected on a rotating basis with ideally four positions filled every year. No director (or the president) shall serve more than two consecutive terms. The Past President shall serve a term of one year. Officers (except the president) shall be elected by secret ballot by the new board following the AGM. Quorum: Five voting directors present shall constitute a quorum for the purpose of a meeting of the Board of Directors. Vacancies: The office of a Director shall be automatically vacated if: • The person ceases to be a resident of Saskatchewan. • The person has the status of bankrupt. • The person submits a bona fide letter of resignation to the Board. • The person without satisfactory justification is absent from two Board meetings within one fiscal

year. • The Board votes by a vote of two-thirds of the Directors to remove a Director by due process; or • The Voting Members by ordinary resolution at a special meeting of Members vote to remove the person as a Director. Board Member’s Responsibilities: First and foremost, the Board’s job is to set policy and direction for the organization and to continually evaluate its effectiveness. The board must make decisions as a whole; directors cannot act individually. Abide by the SWG’s code of ethics, conflict of interest and confidentiality policies, and support board decisions. The SWG relies on the expertise and knowledge of its board to carry out its mandate and vision. The Board shall ensure that the following criteria be adhered to for selection of nominees to the Board: SWG Policy 8.4.1 Criteria for nominations to the Board 1. Candidates must reside of Saskatchewan and live in the province at least 8 months of the year. 2. Have a demonstrated commitment to the art and craft of writing and be an active member of Saskatchewan’s writing community. 3. Be a member in good standing of the SWG. 4. Candidates must be 19 years of age. 5. Be willing to abide by SWG Conflict of Interest and Confidentiality Policies. 6. A broad range of knowledge, skills and experience will be sought in the composition of the board. 7. Nominees to the SWG Board of Directors cannot be in a status of bankruptcy. 8. To the greatest extent possible, the composition of the board should reflect the cultural diversity of the province, in particular Aboriginal representation. 9. To the greatest extent possible, the composition of the board should reflect gender balance and regional representation 10. To the greatest extent possible, the composition of the Board should reflect the literary diversity of the province.

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SWG Governance Information about the SWG Board Governance is given in an overview below for prospective members

he Saskatchewan Writers’ Guild (SWG) is one of the largest and most respected writers’ organizations in Canada. We are a province-wide, inclusive, and democratic organization. SWG imperatives include leadership, effective management, ethical conduct, and concern for writers. Furthermore, respect is a fundamental SWG value, which we extend to board members, staff, volunteers, writers, and members of the community. The Board will govern with an emphasis on outward vision rather than an internal preoccupation. The Board will govern with an emphasis on strong leadership, longterm vision, and strategic planning. While the board is committed to a clear distinction between its role and the role of the Executive Director, it also recognizes the value derived from strong collaboration. The board is committed to fostering an environment of respect and collaboration by committing to the following values:

a. Authority, responsibility and accountability are the primary components of all relationships. Limitations of authority and expectations of responsibility are the secondary components b. Circles of authority and responsibility are defined clearly and are maintained equal in size by negotiating limitations of authority or expectations of responsibility c. Each individual has a share in responsibility for creating, owning, understanding and implementing the mission of the organization d. Decision‐making proceeds from shared values, vision and mission, not unilaterally from the Board or the Executive Director. Decisions are made as close as possible to where they are implemented. e. The organization is results oriented. Indicators of results are identified. Strategic and tactical goals are set in balance with available resources. Results are measured. f. Accountability is mutual. The source of authority is accountable to the recipient for providing adequate authorization and resources. The recipient is accountable to the source for achieving negotiated results. Accountability is a neutral process.

The Board governs on behalf of and is accountable to the membership of the Guild. 1. The Board will cultivate a sense of solidarity and a sense of group responsibility to the Board as a whole. It will make collective decisions, achieve consensus, and abide by its decisions. The expertise of individual board members will be used to enhance the ability of the Board as a body, but will not replace the collective decision of the board. 2. The Board will balance its group responsibility with the encouragement of diversity in viewpoints. Board members will voice dissenting views or concerns held by any part of our membership and debate the impact of its decisions on such members. 3. The Board will direct, control and inspire the organization through the careful establishment of broad written policies reflecting the Board’s values and perspectives. The Board is committed to rigorous, continual improvement of its capability to define values, policies and vision. The Board’s major policy focus will be on the intended long term impacts. 4. The Board will be responsible for excellence in governing and ensure the continuity of its governance capability. 5. The Board will engage in continual board development, which will include orientation of new members in the Board’s governance process and periodic board discussion of process improvement. This will include comparison of board activity to its governance policies.

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SWG Organizational Chart The SWG Board is including this Organizational Chart for member information.

SWG Aug/Sept SWGFreelance: Freelance April /2014 May 2014

Crafting the Characters of Your Children’s Fiction – III By Alison Lohans

y previous article discussed some of the normal developmental challenges faced by preschool and elementary school children and how these might be useful for developing characters in fiction for those ages. This one will attempt to address the complex developmental challenges faced by adolescents and how these might pertain to crafting the personalities of our teen characters.

Young adults are sophisticated readers. Abstract thinking is now happening – though we need to remember that many ten-year-olds are reading YA material, while middle years and young teen readers themselves have often ventured into the world of adult literature. When writing for this age group, it’s especially important to see eye-toeye with the character and reader, showing a character grappling with a complex situation and growing in the process. We show our respect for these readers by using language that acknowledges their maturity and exercises their imaginations. Any instance of “writing down from a pedestal”, or attempt at moralizing, will be detected immediately and the story discarded. Therefore it’s crucial that we create strong, multi-dimensional characters – not necessarily likeable ones – intact in and of themselves. We approach our teen characters with empathy, seeing them as individual people, rather than “teenagers”. For younger teens, “it’s all about them”. Some will imagine themselves in the spotlight, or being filmed for a movie (something I remember keenly as a 14-year-old who sometimes felt completely grown-up, but at other times still a bit like a child). There’s that phase of feeling invulnerable that can lead to unnecessary risk-taking. With hormones pumping strongly, moods will be intense, sometimes soaring to some of the loftiest altitudes of the confusing growing-up journey, but at others plunging to incredible depths. It can be a time of immense, deeply felt drama with bumps in the road seen as earth-shattering tragedies. One primary developmental task of this age group is to establish a solid identity. Erikson describes this “psychosocial crisis” as developing an identity, versus role confusion. You will all be familiar with that “Who am I?” question asked by young people, in terms of exploring where they fit in socially and vocationally. Young teens

Alison Lohans. Photo courtesy Alison Lohans. will wrestle with questions of peer pressure: can they find a secure group identity, or do they end up alienated from their peers? Older teens continue the search for identity (as opposed to floundering in confusion) and may find what feels like the right fit through role experimentation. Likewise, they begin to find their places within an ethnic or other group – or may decide to break away from an established cultural norm. Many teens have a keenly developed social conscience and are able to take action on their strongly felt beliefs. Friends are central in their lives, though these young people still need the security of parental love and acceptance. All of the above material, factoring in questions of temperament (extravert or introvert?), motivation (intrinsic, or extrinsic?), and attribution theory (perceived causes of success or failure), along with a character’s degree of attachment to friends and family, and ability to adapt to changed circumstances, provides a rich lode for creating a rounded teen character. Another aspect to consider adding to the mix when thinking about conflict and obstacles during this time when young people are independencing themselves from

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the home, is to look at your characterâ&#x20AC;&#x2122;s parents: their own personalities, and their parenting styles. An authoritarian parent will present more leverage against which a teen needs to rebel. An overly permissive parent, on the other hand, will fail to establish clear boundaries, leading a teen character into a murky predicament of having to figure more things out for herself. An authoritative parent, on the other hand, will have set boundaries and will lead by example, assisting the teen character to think for himself. I believe characters come most alive when we gather up a compatible assortment of traits to amalgamate into a personality, insert this amalgam into a fascinating question with some strong goals and motivations on the part of each of the central characters and then back off a bit and let a spark generate. To me, it always comes back to identifying with our characters so intensely that we live through the story along with them. Barbara Seuling states it nicely: â&#x20AC;&#x153;We must constantly step back and wriggle into the shoes and the skin of the child [or teen] before writing, yet we must craft our language with grown-up care, not to deplete it of its excitement and color, giving the reader much to absorb and digest.â&#x20AC;?

Alison Lohans believes developmental psychology theory is a treasure trove for writers. Her 26th book, Leaving Mr. Humphries, has been chosen as a finalist for the 2014 High Plains Book Awards in Billings, Montana.

Find Saskatchewan Writers and Services Is a valuable online promotional tool for SWG members and the work you do. Consider adding yourself. If you are already listed, please make sure your information is current so people can learn more about you. SWG provides this service to profile you as a writer, for hosts to contact you to do readings and presentations, and to

provide information about other professional writing services you might provide for hire. For more information contact the SWG office at: 306.791.7740 or info@skwriter.com

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The Space-Time Continuum Space Opera By Edward Willett

pace opera is an odd-looking term: after all, as the marketers for the movie Alien might have (but fortunately didn’t) put it, in space, no one can hear a tenor scream a high C.

Early Science Fiction (SF) fan Wilson “Bob” Tucker coined the phrase, writing in his fanzine in 1941: “In these hectic days of phrase-coining, we offer one. Westerns are called ‘horse operas,’ the morning housewife tear-jerkers are called ‘soap operas.’ For the hacky, grinding, stinking, outworn space-ship yarn, or world-saving for that matter, we offer ‘space opera.’” But the term that began as a perjorative is now applied to some of the best writing science fiction has to offer. How that happened is detailed in a fascinating essay by David G. Hartwell and Kathryn Cramer entitled “How Shit Became Shinola: Definition and Redefinition of Space Opera.”

The negative connotation remained in place for a long time. What led to the term’s redefinition, oddly enough, was the New Wave movement: a would-be revolution instigated in the early ’60s. Michael Moorcock and J.G. Ballard used their prestige and powers of persuasion to proclaim space fiction dead. Henceforth, they said, the only “true” SF would involve the near future, inner space, and the human mind. They and other New Wave writers lumped all past SF adventure stories, regardless of quality, under the term “space opera,” and said it was all bad and had no place in the new-and-improved SF world. But every literary movement spawns a counter-movement. In the mid-1970s, Del Rey Books reissued nearly all of the early work of the highly respected author Leigh Brackett, and deliberately labeled that work “space opera”—as a form of praise. Lester Del Rey had set as his publishing house’s goal nothing less than bringing SF back to its roots as a nonliterary—or even anti-literary—form of entertainment. Notes Hartman, “Lester even went to the extreme of denying that any writer could set out to write SF as art,” in direct contravention of the New Wave writers, who thought SF could be good art and that good writers could aspire to art through SF—but only if they discarded the traditions of space opera. Del Rey’s turnaround of the term “space opera” succeeded,

Edward Willett. Photo courtesy Edward Willett. thanks to the unbelievable success of Star Wars, for which Del Rey published the novelization. And when the aforementioned Leigh Brackett, a talented screenwriter, wrote the script for The Empire Strikes Back (generally considered the best of the original three movies), the Del Rey novelization had both the novelizer’s and her name on it. “Space opera” henceforth was linked in popular culture to bestselling popular SF entertainment. Write Hartwell and Cramer, “Here’s the big irony: the Del Reys were conservative, and were shooting for a restoration of past virtues, and instead hit the future. What they did was to allow the postmodern conflation of marketing and art, the inclusion of media in the artistic project of SF, and to permit the mixing of all levels and kinds of art in individual works. They established the artistic environment for works they would never have considered publishing or supporting. They set the stage for postmodern space opera.” As a result, they write, since the1980s space opera has meant “colorful, dramatic, large scale science fiction adventure, competently and sometimes beautifully written, usually focused on a sympathetic, heroic central character, and plot action [this bit is what separates it from

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other literary postmodernisms] and usually set in the relatively distant future and in space or on other worlds, characteristically optimistic in tone…this permits a writer to embark on a science fiction project that is ambitious in both commercial and literary terms.” Some examples from the 1980s and 1990s I can personally recommend: Orson Scott Card’s Ender’s Game and its sequels; Larry Niven and Jerry Pournelle’s The Mote In God’s Eye; C.J. Cherryh’s Downbelow Station; Gene Wolfe’s four-volume The Book of the New Sun, and its sequel, The Urth Of The New Sun; and Lois McMaster Bujold’s Miles Vorkosigian series.

winning the Nebula and the Arthur C. Clarke Award) is Ancillary Justice, by Ann Leckie, an unabashed space opera. It’s ironic that a term intended as an insult to the worst science fiction now applies to the best. But then, science fiction is all about change—so maybe that’s absolutely fitting. Edward Willett is a freelance writer and performer in Regina. He is the author of 50 books.

Other names to look for: Dan Simmons, John Varley, David Brin, Iain Banks, Catherine Asaro, Peter Hamilton, M John Harrison, Donald M. Kingsbury, David Weber, Ken MacLeod, Alastair Reynolds and Mike Resnick. According to Hartwell and Cramer, “The new space opera of the past twenty years is arguably the literary cutting edge of SF now.” That statement is a few years old now, but it shows no signs of being rendered inoperative. The leading contender for this year’s Hugo Award for Best Novel (after already

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Windscript Vol. 31 Submission Guidelines By SWG Staff

e welcome students to submit creative writing in any and all forms - poetry, prose, and creative non-fiction - for the next Volume of Windscript.

Windscript Awards

The annual magazine of high school writing has been published by the Saskatchewan Writers’ Guild since 1983.

Jerrett Enns Awards

Please note that as in all writing competitions, these guidelines are very important and must be followed in order for submissions to be accepted. Submission Guidelines 1. Always keep a copy of your submitted work. Submissions will not be returned. 2. Submit a maximum of six poems. Do not put more than one poem on a page. Prose works must not exceed 1500 words.

3. All work must be original from start to finish. Writers submitting plagiarized work will be banned from Windscript. 4. Type each creative writing piece in 12 pt font, double spaced. 5. Number each page. 6. Put the title on each submission and each page of the maunscript. Do not put your name on the poems or stories themselves as submissions are selected anonymously. 7. Proofread your manuscript. 8. In a Cover Letter, provide the following information: • Your name, your home phone number, mailing address, and email • The genre of writing you are submitting (fiction, poetry, non-fiction) • The title(s) of your poems or stories • The name, address, and phone number of your school and teacher • A fifty-word biography written in the third person (if we publish your work, we will use this information, so be creative)

Students whose work is chosen for Windscript are eligible for two awards.

The Jerrett Enns Awards are two awards of excellence for high school student writing in poetry and prose named in honour of Victor Jerrett Enns, Executive Director of the SWG from 1982 to 1988. Today, the poetry and prose awards continue to be presented, as well as an Honourable Mention in each category. Currie-Hyland Prize The Currie-Hyland Prize is awarded for excellence in poetry to a high school writer living outside Regina or Saskatoon. This award was established in 1992 by the SWG and the literary community of Moose Jaw as a tribute to Robert Currie and Gary Hyland in recognition of the literary excellence they achieved in their many published works and to acknowledge their commitment and generosity to their students and fellow writers. Deadline February 16, 2015 Send submissions to Email: submissions@skwriter.com Attach document to the email as a doc, docx, rtf, or txt file. Put Windscript in the subject line. If email is unavailable submissions can be mailed to: Mail: Windscript, Box 3986, Regina, SK, S4P 3R9 The Saskatchewan Writers’ Guild is proud to support the fresh, original work of student writers. We thank, in advance, the teachers and librarians who encourage their students to submit their creations for the upcoming issue.

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Books by Members

Just Pretending By Lisa Bird-Wilson Coteau Books ISBN: 9781550505467

Wiseman’s Wager By Dave Margoshes Coteau Books ISBN: 9781550506013

Red Curls By Tracy Hamon Thistledown Press ISBN: 9781927068939

The winner of four Saskatchewan Book Awards in 2014.

From an emergency room in Calgary, where an intern hears his poorly timed joke about suicide, Zan winds up on the psychologist’s couch. But the doctor’s efforts to investigate Zan’s mental state are constantly stymied by his misfiring memory, his wry delivery, and his novelist’s tendency to embellish. Is he misremembering, misrepresenting, crafting a better story – or all of the above? Through the streets of Strikeera Winnipeg, Toronto during the Depression, and the 1980s Calgary of Zan’s new life, Dave Margoshes’s compellingly unreliable narrator treats the reader to a magnificent meditation on aging, family ties, faith, and the liquid concept of the truth.

To an artist, an eternity is another lifetime and always an uncertainty. Nearly 100 years after his death, Egon Schiele’s artwork continues to entangle us in a colourful combination of history, art, explorations and longing. The poet’s experience frames Schiele and his model, Valerie Neuzil, mingling the past with the present with an evocative narrative. This seductive story about art, eros, and the language of the body and modelling poses with desire to be a part of the audience of this vivid portrait and explores these historical figures. The various poetic forms in the manuscript—lyric, narrative, prose poem— let the reader visualize the art and lives of Schiele and Neuzil.

From one of Canada’s most exciting new Metis voices comes a book whose recurring themes include the complexities of identity, belonging/not belonging, Aboriginal adoption, loss and abandonment, regret and insecurity. A deadbeat dad tries to reconnect with his daughter after 22 years away. A selfish poet has been scarred by an upbringing that leaves him emotionally distant from his children and spouse. A pot-smoking middle-aged man undertakes a modest quest for meaning following a brush with mortality. A fourteen-year-old girl struggles to come to terms with her feelings of abandonment. The characters are often fragile, sometimes unlikeable, but ultimately can be identified or sympathized with. At the centre of the stories are notions of identity and belonging, and the complex relationships between children and parents, both those who are real and those who are just pretending.

Dave Margoshes has published more than a dozen books of fiction, poetry, and nonfiction. His collection of stories, Bix’s Trumpet and Other Stories, was Saskatchewan Book of the Year, won the Regina Book Award and was a finalist in the ReLit Awards in 2007. His three novels are Drowning Man, I Am Frankie Stern, and We Who Seek: A Love Story. He has published four other story collections, five volumes of poetry and several non-fiction works, including a biography of Tommy Douglas.

Tracy Hamon was born in Regina, SK and holds an MA in English from the University of Regina. Her first book of poetry This Is Not Eden was released in April 2005 and was a finalist for two Saskatchewan Book Awards. Portions of her latest collection Interruptions in Glass won the 2005 City of Regina Writing Award, and it was also shortlisted for two book awards in the 2010 Saskatchewan Book Awards. She was longlisted for the 2012 CBC Poetry Award.

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Fatal Obsession By Ryshia Kennie, Jaycee Clark, Kate Donovan, Kate Douglas and Rita Henuber Beyond the Page Publishing ISBN: 9781940846248 A five-book box set, featuring some of the industry’s hottest writers of romantic suspense. Including a story by Ryshia Kennie Fatal Intent by Ryshia Kennie An expedition into the Borneo jungle is a dream trek for entomologist Garrett Cole, until a murder turns the trip into a nightmare. Lost and panicked, Garrett puts her trust and the fate of her team in the hands of the mysterious and rugged Aidan to guide them to safety. With a killer on the loose and passion flaring, can she trust the man who claims to be their rescuer? Or are Aidan’s good intentions another of the jungle’s illusions? Other stories included in the box set: Deadly Shadows by Jaycee Clark, Trace Elements by Kate Donovan Lethal Obsession by Kate Douglas Point of No Return by Rita Henuber

Bothers Powers of the Archangel Michael By Tekeyla Friday Balboa Press ISBN: 9781452591353 Five year old Maya is frightened of the Bothers, who pester her while she sleeps. They want her to get up and play with them. It’s so hard to rest when you have a room full of invisible visitors watching you sleep or one who constantly steals your favorite teddy bear. She wakes up her older brother, Gage, to comfort her and he teaches her about the Powerful Archangel Michael who helps the Bothers go away. Born an Indigo Child, and naturally gifted from birth, Tekeyla Friday brings more than sixteen years of experience to her North American Practice as an angelic medium and angel certified practitioner and spiritual healer. One morning, the archangel Michael woke her up and showed her several manuscripts which she was to write about the archangels. Bothers: Powers of the Archangel Michael is the first in this children’s collection of stories. These stories are designed to teach both parents and children about the archangels and how they can help them. Tekeyla currently resides in Swift Current, Saskatchewan

The Rawhide Homesteader By Scott Henders Benchmark Press ISBN: 9781927352182 Banished from his hometown after a scandalous affair with a Catholic girl, Joshua McIntyre finds himself on the open prairie, laying claim to a homestead in the middle of nowhere. But after a ploughing accident leaves him injured, he’s forced to take shelter in a cave for the winter, his only company his team of oxen, his faithful sidekick, Zeke, and a mouse named Peanut. Relying on his wits and the teachings of his beloved grandpa to survive the extreme winter conditions, attacks from a marauding pack of wolves, and a loneliness like he’s never known before, Josh discovers that the healing spirit of the prairie might just be the answer for a tortured soul.

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Books by Members

God Telling a Joke and Other Stories By Dave Margoshes Oolichan Books ISBN: 9780889822993

The Hills Are Shadows By Joan Givner Thistledown Press ISBN: 9781927068915

God Telling a Joke and Other Stories is a collection of new stories by the author of Bix’s Trumpet and Other Stories, named Book of the Year at the Saskatchewan Book Awards and a finalist for the ReLit Award in 2007, and A Book of Great Worth, one of Amazon. ca’s Top Hundred Books of 2012.

The second book in the A Girl Called Tennyson Series.

Among the characters in the collection’s 16 stories are a 99-year-old standup comedian wearily challenging God to deliver the punch line; a lightning strike survivor whose luck finally runs out; a Princeton-educated trapper who transforms himself into the King of the Jews; a young Second World War veteran unable to talk another vet out of suicide; a carnival sideshow “geek” with a glass jaw; a stroke victim who suffers a different type of heart attack; and a writer dubbed by an award jury as “a connoisseur of longing.” The stories range from laugh-out-loud comedy to wry satire to heart-wrenching romance to sober meditations on the nature of beauty, truth, life and death. The stories show Margoshes, a master story-teller, at the top of his game.

When Anne Tennyson Miller (known as Tenn) brings her friend Una from her distant homeland to join the Miller family, she prepares her for culture shock. However a different kind of shock awaits them. They find a ghost town; the sea is rising rapidly; the climate is changing, and all the people have fled to the mountains. When they eventually reach the mountaintop, another shock awaits them. Tenn is happily reunited with her family but instead of a safe haven, they find that the population is divided into hostile camps. War is about to break out over food supplies, weapons, and water. This classic fantasy quest from established YA author Joan Givner takes young readers on an adventure written in the British tradition, fused with a contemporary voice. Givner alludes to the work of Tennyson, as “Tenn” loves poetry, story and rhyme; in fact it will be her love of great writers that helps her in her quest and leads her to success.

Where I’m From: ITEP Creative Writing 2005 - 2013 Edited by William B. Robertson University of Saskatchewan ISBN: 9780888805942 The Indian Teacher Education Program (ITEP) at the College of Education, University of Saskatchewan campus, celebrates its student creative writers. Contained in the anthology is poetry of many forms, varieties, genres, themes, moods, and dictions, plus a little prose along the way. The content of this work ranges from the joy of new birth to the sadness of final farewells; from the injustice and heartbreak of the residential school system and its aftermath to the power and affirmation of new beginnings, the re-discovery of culture and its opportunities for growth; from life on the rez to the lights of the big city; from the trapline to student essays; from bannock and bingo to a whole new lingo. Edited by Creative Writing instructor William B. Robertson. Compiling 126 works of poetry by his students from 2005 to 2013.

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

SWG Freelance: SWG FreelanceAug/Sept April /2014 May 2014

Calls of Interest Looking For A Writers’ Group To Belong To (In Regina)? The Prairie Phoenix group meeting is free and open to any and all ages, genders, genres, ideas and input. Our plan is simple: •

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Bring your work, share it, and get feedback. When you choose to share your writing, please bring a few copies. If you are looking for likeminded people, inspiration, new ideas, a little nudge to pick up the pen again, check us out.

When: The last Thursday of every month, unless location conflicts.

Where: SWG Office, #100, 1150 8th Avenue, Regina If you have any questions, you can call Marianna at 306.924.4030 or email her at Marianna_11@ hotmail.com.

Does Your Family Have Cream Money Stories? DriverWorks Ink publishing invites you to submit short stories of collecting and selling milk and cream on your family’s Prairie farm. These stories will be considered for inclusion in the new book Cream Money: Stories of Prairie Pioneers, celebrating that era of Canadian farming. Stories should be from 300 to 1,500 words. Saskatchewanbased DriverWorks Ink publishing is looking for anecdotes and explanations, stories of heartache and hardship, humour and joy, sadness and celebration. Please send your submissions by November 30 by email to: ddriver@sasktel.net or by mail to: DriverWorks Ink, 110 McCarthy

Blvd. N., Regina, SK S4R 6A4. Those whose stories are published will receive two complimentary copies of our Cream Money book upon publication and the option to purchase additional copies at a 40% discount. Thank you in advance. We look forward to receiving your stories.

Aesthetica Creative Writing Award: Call for Entries The Aesthetica Creative Writing Award is open for entries, presenting a fantastic opportunity for established and emerging writers to showcase their poetry and short fiction to new, international audiences. Prizes include publication in the Aesthetica Creative Writing Annual, a compelling anthology of new writing; £500 for the Poetry winner; £500 for the Fiction winner; a selection of inspirational books from Bloodaxe Books and Vintage. Entry is £10 and permits the submission of two works into one category. Fiction entries should be no more than 2,000 words each and poetry entries should be no more than 40 lines each. Submissions previously published elsewhere are accepted. Submission deadline is August 31, 2014

Regina Reviews: Call for Submissions Regina Reviews (reginareviews. ca) is a new all-volunteer website dedicated to reviewing everything the Queen City and environs has to offer, from theatre to concerts to dance to art to food to books. Wellwritten, thoughtful reviews of any

of the aforementioned are welcome. In particular, editor Edward Willett would like to see good reviews of books by Saskatchewan authors. Email editor@reginareviews.ca for more information

Rebelight Publishing Inc. Now Accepting Submissions Rebelight Publishing Inc. is a worldwide English language publisher based in Canada, devoted to outstanding fiction for middle grade, young adult, and new adult readers. We’re looking for fresh voices and amazing stories in any genre. Experienced Canadian authors and new writers welcome. Check out rebelight.com for more information and submission guidelines.

It’s Only Love Have you ever committed an atrociously humiliating act in the name of a broken heart? Maha Zimmo and Naomi K. Lewis are compiling a collection of moments unhinged. Please send personal essays or fiction of up to 5000 words, poems (max five) and visual artworks reflecting honest, funny, and introspective tales of temporary insanity brought on by “love.” Prose submissions should be double spaced Word documents, identified as non-fiction or fiction. Previously published work welcome, but please identify it as such. Submit your work by October 31, 2014 to itsonlylove2014@yahoo. com

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

The London Magazine’s Short Story Competition 2014 The London Magazines’ prestigious short story competition is returning for its third year in September. To continue its literary history, The London Magazine is always looking for new voices from across the world. Our competitions provide emerging literary talent with an opportunity for publication and distinguished recognition. Opening date: 1st September 2014 Deadline: 31st October 2014 1st Prize: £500 2nd Prize: £300 3rd Prize: £200 Entry fee: £10 per short story.

featuring the contribution of Indigenous, Métis, Francophone poets and spoken word artists from across the country, with a Western Canadian emphasis. Held in Winnipeg, The PORTAH!GE Festival Committee invites poets and their fellow artists to submit an Expression of Interest for collaborative and interdisciplinary performances during the Festival. The purpose of this call for Expressions of Interest is to develop a shortlist poets, artists and creative collectives who wish to be considered as we develop the PORTAH!GE program. We do not require a full proposal so keep it simple.

2015 PORTAH!GE Poetry Festival

For more detailed information on how to submit visit the Creative Manitoba website

A celebration of Canadian poetry

Deadline: September 1, 2014

Attention Saskatchewan Writers and Artists The Saskatchewan Arts Board and Creative Saskatchewan are pleased to announce that the Culture on the Go program has been renewed in an $800,000 agreement. This is a great opportunity for Writer’s to receive funding for travel in order to share their craft. Culture on the Go promotes activities for Saskatchewan artists that are related to touring, audience development and market development, which may take place provincially, nationally or internationally. Application packages and related information for the next Culture on the Go deadline will be available by September 2014 at artsboard.sk.ca/ cogo and at creativesask.ca

SWG Freelance: SWG FreelanceAug/Sept April /2014 May 2014

Professional Development New Writers’ Retreat Open in B.C. Foxglove Cottage Writer’s Retreat on scenic Pender Island is now taking bookings. Reasonable rates. Charming cottage on a driveway shared with main house, in a sunny clearing surrounded by woods. New. Private. Luxury linens, queen bed, desk, internet, stereo, kitchen, shower, wood floors, Persian rug, porch with loveseat. Gardens. Photos on request. Property backs onto park; dozens of local walks. Easy access from Vancouver and Victoria. For more information, or to book your retreat, email: garneycoburn@ gmail.com or phone: 250.629.0026

Berton House Writers’ Retreat Program The Writers’ Trust of Canada is now accepting applications for the Berton House Writers’ Retreat program. It is a one-of-a-kind place and an excellent opportunity to focus on a current work-in-progress. Four residency positions are available covering the period between July 2015 and June 2016. Each residency lasts three months. Writers-inresidence are housed in Pierre Berton’s childhood home in Dawson City, Yukon. They receive a $6,000 honorarium and their housing and travel costs are covered. Further information about Berton House and the program is available at bertonhouse.ca or by contacting the Program Director at jdavies@ writerstrust.com.

Make Writing a Solid Part of Your Life

Presented by Six to Eight Writers Inc. You’re a writer, but you never seem to find the way to make it solid in your life. In this four-hour workshop, bestselling, award-winning author, Alice Kuipers, will show you how to focus on your writing so you can get your ideas onto the page and beyond. Kuipers will look at all stages of the writing process: from idea generation to tips on writing discipline, to the editorial stages, to publication and promotion. This will be a great opportunity to generate some writing, ask questions, dig deep and commit to your own writing practice. Saturday September 13, 2014 11 am - 3 pm Location: Grace Lutheran Church 603 115th Street East, Saskatoon Registration fee: $20 For more information or to register contact Lisa Kuzma at lisakuzma63@ gmail.com.

Publishing 2.0 - Tips and Traps Presented by the Writers Union of Canada. Whether you are an aspiring, emerging, or an established writer, the ever-changing publishing landscape can be daunting. If you want to learn the skills needed to succeed in today’s publishing landscape, the traditional and/or independent route, then this full-day workshop is for you. Monday, September 15 from 9:30 am - 4:30 pm and lunch is provided. University of Saskatchewan, Marquis Hall, 97 Campus Drive, Private Dining Room, Saskatoon Cost of the one-day workshop is $95

For more information visit: writersunion.ca/pd-workshops

CARFAC Sask Fall 2014 Workshops These workshops will describe the various social media platforms and demonstrate ways in which artists can use social media as a useful tool for marketing, building connections, and engaging with customers, galleries, arts organizations and the public. October 25th 1:00 - 4:00 pm Art Gallery of Regina, 2420 Elphinstone St, Regina November 15th 1:00 - 4:00 pm Signal Hill Arts Centre, 424 10th Avenue S,Weyburn

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

Member News Congratulations to High Plains Finalists We’re excited to share that four Saskatchewan authors have all been shortlisted for the 2014 High Plains Award out of Billings, Montana. Alison Lohans and Marion Mutala have both been shortlisted for the best Children’s Book award, while Beth Goobie was shortlisted for best Young Adult Novel, and Kim McCullogh is up for best Woman Writer. Award winners will be announced at the Awards Banquet in Billings, Montana on Saturday, October 25th. More information on the award, and the nominees is available on the Billings Public Library website.

Anne Lazurko Wins WILLA Award Weyburn author and farmer Anne Lazurko is making waves (of grain?) in the USA, honoured by the Women Writing the West organization. Her

debut novel Dollybird, set in turn-ofthe-century pioneer Saskatchewan, has won the WILLA Award for historical fiction. The awards are named in recognition of Pulitzer Prize-winning author Willa Cather. Dollybird was also one of the three finalists for the Fiction prize at the Saskatchewan Book Awards this year

RPL Welcomes Arthur Slade as Writer-in-Residence Regina Public Library (RPL) is pleased to welcome Arthur Slade as the Library’s 2014/2015 Writerin-Residence, commencing on September 3, 2014 and continuing through May 31, 2015. He is the author of seventeen published books for children and young adults. Slade has taught writing at the Sage Hill Writing Experience, Banff Centre of the Arts, and online for the University of Toronto, in addition to being a mentor for the University of Saskatchewan’s Creative Fiction Program.

New Members The SWG would like to welcome: Bernadine Baier Sharon Bird James Brayshaw Vickianne Caswell Megan Cheesbroug Carson Demmans Nadine Florkiewicz Michael Gaudet Ashley Gerling Taryn Goff Michael Hintze Edna Honig Erica Jen Cindy Koob Kelly Jolene Laycock Denise Leduc Catherine Mackenzie Maryanne Slater Desktop Services Wayne Mitchell Dana Morenstein Eric Neufeld Carla Roppel Ashley Ross Naomi Spoonmore Samantha Storey Amanda Sutton David Temrick Edward Turner Alexander Wesker Treena Wynes

SWG Freelance: SWG FreelanceAug/Sept April /2014 May 2014

SWG Highlights 1

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Brothers Wayne and Ken Mitchell perform some Cowboy Poetry during Words in the Park. Photo Credit: SWG Staff. Allison Kydd reads from her latest work in Victoria Park in Regina for Words in the Park. Photo Credit: SWG Staff. Goldeye and Funnyfin puppet show performed by Connaught Library’s Kaiti and Diana during a rainy day Words in the Park. Photo Credit: SWG Staff. Abby Vadeboncoeur and Alice Willet with writer Ibi Kaslik during the SWG’s Youth Summer Writing Workshop. Young writer’s had the chance to read their very own works during a Words in the Park event. Photo Credit: SWG Staff. Marion Mutala shares her Baba’s Babushka stories about Ukrainian traditions during Multiculturalism Day in Saskatoon. Photo Credit: SWG Staff. Dale McArthur, from the band Kinder Scout, performs at Sâkêwêwak, during National Aboriginal Day. Photo Credit: SWG Staff. Judith Krause, Saskatchewan’s Poet Laureate, reads during an event at Government House in Regina. Photo Credit: SWG Staff.

SWG Freelance: 2014 SWG Freelance April /Aug/Sept May 2014

Backbone The SWG Thanks Our Donors Andrew Suknaski Writers Assistance Fund Judith Krause Glen Sorestad

Patron (over $500) Felicia Daunt

Benefactors ($200-$499)

Robert Calder Donald Kerr Lyn Goldman Charitable Trust Dianne Young

Grain

Adam Abbas Cheryl Kloppenburg Preston Pentony Rea Tarvydas

Supporters ($100-$199)

Patricia Armstrong Fund Sharon MacFarlane

Retreats

Sandra Campbell David Carpenter William Galbraith Lewis Horne Honor Kever Anne Lazurko Wynne Nicholson Reg Silvester

Gail Bowen Brian Cobbledick Robert Currie Betty Hegerat Katherine Lawrence Terry Toews

Friends ($50-$99)

Kloppenburg Award

Cheryl & Henry Kloppenburg

Mary Harelkin Bishop Rita Bouvier Margaret Durant Elinor Florence Miriam Koerner Sheena Koops Bonnie Logan Alison Lohans Ken Mitchell Joan Olson Red Hawk Communications Inc

David Richards Cassie Stocks Alma Wagner Roberts Jayne Whyte

Contributors (up to $50) Linda Biasotto Jeanette Dean Todd Devonshire Lilian Donahue Adele Dueck Joan Eyolfson Cadham Jean Fahlman Wes Funk Glenda Goertzen Lisa Guenther Ted Haas Susan Harris Allison Kydd Robert Leech Dianne Miller Kathleen Morrell Tony Peter Lloyd Ratzlaff Dorene Redshaw Evelyn Rogers Edda Ryan Anne Slade Sunday Afternoon Co-op

The SWG Foundation Thanks These Donors Facilitated Retreat Susan Hogarth

Judy McCrosky Bursary Fund Judy McCrosky James Romanow

SWG Foundation: Dr. Nola Buhr George Jeerakathil

SWGF Legacy Project Gloria Boerma Rodney Dickinson George Jeerakathil Lynda Monahan Judith Silverthorne Glen Sorestad

Caroline Heath Memorial Fund Lloyd Ratzlaff Candace Savage

Freelance

August / September 2014 Volume 44 Number 5

We gratefully acknowledge the support of SaskCulture, Saskatchewan Lotteries Trust Fund and the Saskatchewan Arts Board