Freelance June/July 2015 by Admin Assist

Freelance June / July 2015 Volume 45 Number 4

In this issue: How To Find Grants Cos(play) And Effect A Story Of Story Finding Writing Picture Books Pt. 3

Contents

Vol. 45 No. 4/Freelance Jun/Jul 2015 ISSN 0705-1379

President’s Report ..............................................................................................1 Executive Director’s Report ..............................................................................2 Saskatoon Programming Update .....................................................................4 Windscript Volume 31 Launch .........................................................................6 SWG Welcomes New Board Members ............................................................7 Writers Working Harder Earning Less ............................................................8 Writing Picture Books Part 3 .........................................................................10 A Story of Story Finding .................................................................................12 Bring Home The Bacon: How to Find Grants ..............................................14 Questions For Publishers ...............................................................................16 Be Kind to Your Ink-Blotched Friends ..........................................................18 Cos(play) and Effect ........................................................................................20 Space-Time Continuum .................................................................................22 Books By Members .........................................................................................24 Calls of Interest ................................................................................................26 Professional Development .............................................................................28 Member News ..................................................................................................29 SWG Highlights ...............................................................................................31

Freelance is published six times per year for members of the Saskatchewan Writers’ Guild.

Design & Layout : Corey Wilkinson

How to Submit 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 20 cents a word. Photographs and other visuals are paid at a rate of $25 each. Cover art payment is $80. Deadline for the next issue of Freelance: July 15, 2015.

Contributors to this Issue: Kay Parley Edward Willett Dianne Young Jesse Archibald-Barber Toby Welch Jackie Lay Wes Funk

On the Cover: Autumn at Regina Beach By Jo Ann Fahlman Fahlam spent her working years as a business owner, who took up painting in her retirement. She always liked to paint, but never really thought she would be able to. With the encouragement of her 95 year old Aunt, she picked up the brush. Fahlman lives in Weyburn, SK. W: watercoloursbyjoann.com

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

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 Board of Directors Jeanne Alexander (President), Regina Roy Bluehorn, Saskatoon Sandy Marie Bonny, Saskatoon Brian Cobbledick (Vice President), Regina Heather Getz, Regina Paula Jane Remlinger (Treasurer), Beaver Creek Marianna Topos (Secretary), Regina Jack R. Walton, Saskatoon Nina Wilson, Saskatoon

SWG Freelance Jun / Jul 2015

President’s Report

uring the past months, Board members have attended many SWG events. I am always pleased with the quality of these events and how they impact our world of writing. We have many more programs than other writers’ guilds in Canada. We also can boast that we have more members per capita than do our counterparts. SWG programs and services are subsidized by the SWG annual operation funds that are secured from Saskatchewan Lotteries through SaskCulture’s adjudication process. Along with grants we rely on funding from other sources. A donation letter was recently circulated amongst the membership. Your contribution is greatly appreciated as you are helping other writers as well as furthering the art and craft of writing. Thank you for your contributions. In the interest of governing more effectively and efficiently, we have adapted and adopted more directional policies. I’ve enjoyed working with the governance committee. As an organization we strive for professionalism for all members. To that end, we have established or enhanced several policies with regard to codes of conduct and behaviour for the board directors as well as for members. We are a Guild and as such have a responsibility to ourselves and our fellow members to be respectful/ behave and to be seen as professionals. It has been a pleasure for me to attend many events and meet with the writer of our province. I welcome the opportunity to attend more events, all of which are supported by writers, their peers and guests. A personal and collective thank you to the City of Regina for the support it provides to the writers of the province. The SWG is able to provide several events and programs due to the City of Regina partnership. The 36th annual City of Regina Writing Award provides the winner with funding so they can pursue a writing project. Congratulations to Medrie Purdham, winner of the 2015 award and to runners-up, Tara Gereaux and Cassidy McFadzean. A warm welcome to Sandy Bonny, Jack Walton and Roy Bluehorn, our newest Board directors. What a treat it is to have a full complement of Board Directors of diverse representation from across Saskatchewan who represent diverse demographics.

The annual SWG Fall Conference and AGM will be held October 23-24 in Regina. Anyone interested in serving on the Board for the upcoming terms, please contact Brian Cobbledick. Our executive director, Judith Silverthorne, and I attended a SaskCulture meeting along with other representatives from several organizations which have been involved in the Diversity Planning projects. It is of note that diversity planning, implementation and maintenance is no longer considered an “add on,” but a way of thinking and acting which plays an intrinsic role in our society’s future. Organizations are expected to make provisions for embracing diversity in their operations in the next year or their funding could be jeopardized. Plans are underway for Culture Days Saskatchewan, which will be held Sept 25-27. Do you belong to a group who is participating or are you partnering with another group, organization or individual? If you want to participate, it’s not too late. Find out more or register your event here: sk.culturedays.ca

Jeanne D.G. Alexander President of the Board of SWG

SWG Freelance Jun / Jul 2015

Executive Director’s Report

pring has been at high activity levels involving the Guild, with the Spring and Windscript launches, City of Regina Writing Award reception, Mentorship readings, Cathedral Village Arts Festival literary events, Aboriginal History Day celebrations, Write After Lunch, professional development workshops and a myriad of other programs. Summer is only a little less lively. Words in the Park and Readings by the River will continue throughout July and August. Although various staff members will be on holidays throughout the next couple of months and there will be some reduced services, in-house activities will be vigorously focused on the fiscal year-end audit, shaping fall programming, and internal evaluations and strategic planning, as well as final preparations for the annual conference. Diversity and Multiculturalism

With the provincial population shifting to an increase in multicultural demographics, there is a definite movement towards embracing diversity and inclusion on many levels, including by our provincial government and our funding bodies. In fact, SaskCulture has stipulated that all the Eligible Cultural Organizations (ECOs) that receive funding through them from Saskatchewan Lotteries, must comply in the development of diversity policies before the end of 2016 or risk loss of funding. The Guild is the leading organization in this development, having incorporated our Equity, Diversity and Inclusion policy a couple of years ago. We are now in an implementation process, which means more directed attention to integration. The Guild’s activities, services, and programs have always been open to members on an equal basis regardless of their heritage and other differences. With our diversity policy firmly established, increased efforts will be made to create an environment that welcomes and provides understanding and acceptance for people of various multicultural backgrounds so that they may more fully partake and contribute to the Guild. This does not diminish what we have been doing for decades, but it will enhance integration, enrich the organization and some changes will be noticed. Guild programs will be adapted to be more accepting and supportive of cultural needs. To that end, the Staff and Board are participating in training sessions that concentrate on the areas of Aboriginal Awareness and Cross-Cultural Engagement. Opportunities will also be provided for members starting in the fall.

Demise of Literary Magazines Descant recently folded after 44 years, one of the latest literary magazines in recent months to do so. This seems to be a growing, and disturbing, trend. Along with this, the Western Canadian Magazine Awards have ceased. Why federal funding for literary magazines has been reduced and subscription bases have diminished is a worry. And if some magazines will last that have turned to digital only in an attempt to forge ahead, is yet to be seen. The challenges are many when the costs of producing and distributing continue to rise. There are several reasons for the demise of literary magazines and what the future holds for those that are still hanging on isn’t yet clear. Conference Perspectives In May I had the opportunity to attend the joint The Writers Union of Canada (TWUC)/League of Canadian Poets (LCP) conference in Winnipeg and the weekend before, the Writers’ Guild of Alberta conference in Edmonton— one provincial and two national ones—and to discover how they accomplish what they all do so well. The advocacy work that TWUC does for writers in this country and beyond is even more remarkable when you understand the details that go into achieving results on issues and how the work is done with a variety of committees, the staff and a hard-working board. The Writers’ Guild of Alberta (WGA) are another strong group that accomplishes amazing work, as does the League of Canadian Poets. The Writers’ Guild of Alberta 3 Dimensions Conference was combined with

SWG Freelance Jun / Jul 2015 the Editors’ Association of Canada Prairie Provinces Branch, and Get Publishing Communications Society in Alberta for an amazing array of cross-over workshops. Many great speakers at all the conferences inspired ideas for possibilities in which the SWG could embark.

initiatives are no longer available. Budgeting going forward will prove to be more challenging. With this in mind, the Guild is conducting an in depth look at operations and programming, which may require making some tough decisions.

Membership Updates

You can help! There are many ways, but two are immediate. One is to volunteer for Guild activities wherever you can, as this alleviates operational costs so funds can be more valuably directed towards bringing in more authors, presenters and instructors to offer additional workshops and readings.

Over the last several months we’ve had some unfortunate glitches with our membership database and the electronic services that go with it (the system crashed, plus filtering issues, and other technical problems with the disbursement of renewal notices), as well as problems with our emails. Two major solutions are underway and will be installed by the time you read this report. One major upgrade is we are being outfitted with a totally new computer server system, which will also address problems with our email system so hopefully receiving and sending emails will be less challenging. (Those who have a sasktel.net email may still have to ensure the SWG emails are accepted in your email programs, as this is a SaskTel issue.) The other is a total revamping of our website and membership database, including a new process for members to renew their memberships personally online. Speaking of memberships, we will be initiating a reduced student rate of $20 per annum in the new fiscal year. We expect to launch a campaign in the early fall to coincide with the start of the next academic year. Other updates Background work continues on developing options for directions for the future of Grain magazine, the results of which will be laid out in the next issue of Freelance. Please stay tuned for this information, which will also be brought for discussion to the membership at the fall conference in Regina. The Board has initiated several amendments in the Guild’s Bylaws to update them to more current standards. These changes will be brought forward to the AGM on October 24. Costs of operating the Fall Conference and AGM, plus accommodations for members to stay two nights, has influenced the decision to reduce the length of this gathering to Friday afternoon and all day Saturday, with the AGM taking place on the Saturday afternoon. See the Guild’s website for further information: skwriter.com. Full conference information will also be available in the next issue of Freelance. We’ve been advised that funding cuts may be necessary for the upcoming three year Annual Global Funding cycle (our operational funding from Saskatchewan Lotteries for 2016-2019) as the lottery dollars are decreasing. The Guild is going into the third year of a current three year funding cycle (2015-2016), which also has some changes as some previous project grants for capacity building and other

The second way is to purchase lottery tickets! The sales of lottery tickets go directly to funding sports, culture and recreation organizations, so the more you buy, or encourage others to buy, the more funds are available to the SWG. So please support the arts by purchasing lottery tickets! Have a great summer, full of writing opportunities and inspiration!

Judith Silverthorne

SWG Freelance Jun / Jul 2015

Saskatoon Programming Update By SWG Staff

espite the Guild’s Saskatoon branch office still suffering from the consequences of the flood last November and being forced to close, the Guild continues to provide a wide variety of programming to the community. We’ve strived to maintain program standards and to deliver a selection of professional development opportunities, many of which are free. Saskatoon residents have been able to enjoy the following programs: • Writing North, two-day festival for writers in January – free (partnered with UofS) • Aboriginal Storytelling Month Readings in February – free (subsidized funding from LSAAP)

• Signature Reading Series and Other Readings • Drew Hayden-Taylor • Ariel Gordon/Yvonne Blomer • Professional Development Workshops • Playing Deep: a Poetry Workshop with Liz Philips in April 2015 • Write Goth Well with Joanne Brothwell in February 2015 • Seduced by the Sentence Workshop with Rosemary Nixon in November 2014 • Boot Camp for Career Writers with Allan Casey in October 2014

• Author Readings Program for Schools, Libraries and Communities

• Weaving Words, a workshop offered twice a year for new Canadians – free (Saskatoon Community grant)

• Readings by the River (previously Readings in the Market) – free (partnered with Shakespeare on the Saskatchewan)

• Aboriginal Editors Circle in June (a national program in partnership with the Canada Council and the SK Arts Board)

• Aboriginal History Month/Day– free (subsidized by Canadian Heritage)

• Culture Days: Manifesto Workshop in September 2014 – free (subsidized by SaskCulture)

• Multiculturalism Day – free

• Bringing Back the Buffalo/Words Our Way, youth writing retreat – free (subsidized by Community Initiatives Fund (CIF))

• AGM/Fall Conference is held in Saskatoon every two years • Cheryl and Henry Kloppenburg Award for Literary Excellence in the fall (Subsidized by Cheryl and Henry Kloppenburg) • Aboriginal History Month/Day Celebrations – free • Manuscript Evaluation Program • Mentorship Program • Apprenticeship Readings - switches with Regina on occasion – free • Spring magazine contributors – free • Windscript magazine contributors – free • Spring Launch (sometimes in conjunction with Regina) – free • Seasonal (Christmas) party

• Access to Live Streamed Workshops • Legal Issues for Writers in June • Write After Lunch every month • Access to SK Writers/Artists Retreats Even before the flood happened in the Saskatoon branch office, the SWG had been looking at a different location for easier accessibility and better public visibility. We still are, but so far have not found anything adequate. Please let us know if you become aware of a potential space that is reasonably priced, has decent visibility, parking, and access to a meeting room/gathering space to accommodate workshops and events. The main key here is affordability. Another important key in continuing to have an office in Saskatoon is purpose and serviceability. Since re-opening a Guild office in Saskatoon in the late fall of 2009, we’d hoped for more interaction at our office. Drop-ins were negligible, just as they are in the Regina office, and we assume this is because members don’t find it necessary to come in person, perhaps as so many of our services are available online. The main purpose then for a Guild office seems to be as a

SWG Freelance Jun / Jul 2015 community gathering place to conduct presentations and workshops. We’d love to have member input on what you think the purpose of a branch office in Saskatoon is and what services could be provided there. In the meantime, the SWG’s presence and programs in Saskatoon will be maintained. We will continue to investigate partnering with sister organizations, like the Saskatoon Writers’ Collective (formerly the Saskatoon Coop), Saskatchewan Aboriginal Writers’ Circle Inc (SAWCI), with Shakespeare on the Saskatchewan and other cultural or like-minded organizations and businesses. While the Guild does receive minimal funds through the City of Saskatoon’s Community Development Grant for our Weaving Words program, civic funding does not extend to cultural programming grants. The SWG encourages members in Saskatoon to rally their civic leaders for cultural funding support. The Guild will continue to search for additional funding sources and sponsorships too. In Regina, the SWG is fortunate to have the support of the City of Regina through their robust cultural programming funding grants. The City of Regina civic funding pays entirely for some programs, such as the City of Regina Writing Award, Write After Lunch, First Nations Reading Series, and Words in the Park. It also helps subsidize many other programs, such as Talking Fresh, Signature Readings Series, Professional Development Workshops, AGM/Fall Conference (when in Regina), Apprenticeship Readings, Windscript Launch, Spring Launch, Aboriginal Storytelling Month Readings, Multiculturalism Day, Aboriginal History Month/Day, and Bringing Back the Buffalo/Words Our Way, Manuscript Evaluations, and Mentorship Program. Regina also benefits from a number of programs that are offered in Saskatoon and province wide, such as the Author Readings Program, contributors to Windscript and Spring magazines, and the Mentorship and Manuscript Evaluation programs and access to the SK Writers/Artists Retreats. In the rural areas programming is more limited, though there is access to the aforementioned programs, including access to Write After Lunch and live streaming workshops. There are some special programs for the rural areas, such as the Rural Readings and Rural Workshops series that are funded by the Canada Council for the Arts. Some places also have access to Aboriginal Storytelling Month readings. From time to time we also offer readings and other workshops in various cities and smaller centres as well in partnership with libraries and community centres. We look forward to doing more wherever and whenever we can. In the meantime, we welcome invitations and suggestions. If you are interested in seeing a complete list of programs for various regions in the province, please see the Guild‘s website: skwriter.com/programs-and-services

Staff Directory Executive Director, Judith Silverthorne P: 306.791.7742 E: edswg@skwriter.com Program Manager, Tracy Hamon P: 306.791.7743 E: programs@skwriter.com Program Assistant, Caelan Reilly P: 306.791.7746 E: swgevents@skwriter.com Indigenous Programmer, Erin Peigan P: 306.791.7741 E: swgip@skwriter.com Administrative Assistant, Samantha Workman P: 306.791.7740 E: info@skwriter.com

Communications Liaison, Corey Wilkinson P: 306.791.7744 E: swgmedia@skwriter.com Accountant, Lauren Numrich P: 306.791.7748 E: accountant@skwriter.com

A Home For Your Voice • Writers’ of all abilities welcome • Exclusive members benefits • Writing seminars and workshops • Networking opportunities

skwriter.com

SWG Freelance Jun / Jul 2015

Windscript Volume 31 Launch By SWG Staff

Bernadette Wagner, editor of Windscript with contributors Ritish Kumar, Gloria Sun, Brooklyn Denton, Courtney Graham, Leanne Dombowsky, Erika Erlandson, Sarah Weir, Kezia Fourie, Shaylyn Kress, Areeba Asmat. Photo Courtesy: SWG Staff.

he SWG launched the latest issue of it’s popular magazine Windscript Volume 31, during the Cathedral Village Arts Festival on Victoria Day, May 18.

Windscript features the best in Saskatchewan high school writing. Started in 1983 Windscript was created by Victor Jerrett Enns, the executive director of the Saskatchewan Writers’ Guild at the time. This years’ issue features the work of 14 individual writers’ from across the province. Students from 11 different high schools participated by submitting work to Windscript. The editor for Windscript was Bernadette Wagner. Windscript has awards for poetry, prose, and excellence. The recipients this year were: Jerrett Enns Award for Poetry Gloria Sun Honourable Mention: Aishwarya Gannimani Jerrett Enns Award for Prose Leanne Dombowsky Honourable Mention: Brooklyn Denton Currie-Hyland Prize Sam Letendre Honourable Mention: Erika Erlandson

SWG Freelance Jun / Jul 2015

SWG Welcomes New Board Members By SWG Staff

he SWG would like to welcome the following members to the SWG Board Roy Bluehorn

Born in Prince Albert, SK, Roy Bluehorn grew up in Saskatoon and has lived there for 33 years. Bluehorn attended the University of Saskatchewan, where he majored in Political Studies and Native Studies. After his schooling at the University of Saskatchewan, Bluehorn spent nine years working at the Federation of Saskatchewan Indian Nations and concluded his time there as the Director of Lands and Resources. He then transitioned to a career in politics working for the House of Commons in Ottawa and the former premier of Ontario as a political and policy advisor. Bluehorn joined SIGA six years ago as a Communications Officer in Corporate Affairs and then as a Human Resources Manager in Swift Current, SK. Bluehorn comes from a strong background in government relations and communications. His work experience also includes developing business, building partnerships, and creating mentorship opportunities. Bluehorn is also a volunteer board member with the CNIB in Saskatchewan. Jack R. Walton For over four decades Jack Walton has combined his work in culture and the arts with that of being a volunteer advocate for their development and sustainability. Walton’s eclectic nature has taken him down many roads. He is a writer and performer of songs and literature, for adult and children’s audiences, consultant in the non-profit sector, a festival designer/producer and documentary filmmaker. Community leadership in the cultural sector includes founding Chair of Northern Saskatchewan International Children’s Festival and SaskFilm, past Chair of Heritage Saskatchewan, Saskatchewan Festivals & Events, Saskatchewan Motion Picture Association, the Saskatchewan Museum Funding Review and Saskatchewan Regional Tourism Funding Review. He is a past Director of SaskCulture, Saskatchewan Arts Alliance, Saskatchewan Cultural Tourism Task Force, Tourism Saskatchewan and the Mayor’s Task Force on Festivals. Nationally he has served as a Director of the Canadian Conference of the Arts, and the Canadian Association of Festivals and Events.

Sandy Marie Bonny Sandy Marie Bonny is a Saskatoon-based fiction writer and science educator (PhD 2007). She works at the University of Saskatchewan as a curriculum and project developer, and instructor in the Aboriginal Student Achievement Program, College of Arts & Science. She also coordinates the UofS Science Ambassador Program, liaising with partners in 11 Northern Aboriginal Communities to enhance student and teacher experiences of science and math learning. Bonny is an active advocate for interdisciplinary literacies in our province, working with the FSIN Intercultural Science Fair, Saskatoon Regional Science Fair, CurioCity. ca, WHERE Challenge, SK Cradleboard Initiative, and the Canadian Geoscience Education Network to support crosscultural and cross-curricular competencies within Science, Technology, Engineering and Mathematics initiatives. She was awarded a 2014 YWCA Woman of Distinction Award for excellence in science communication and program innovation. Bonny is a long-time member of the Saskatchewan Writers’ Guild and has previously served on the SWG retreat committee (2012-2014), and acted as fiction editor for Spring (2013) and Windscript (2014). The SWG would like to thank all those who applied to be members of the Board. For those still wishing to participate in the SWG Board, the next opportunity will be during the SWG Annual General Meeting being held on Oct. 25 at the Travelodge Hotel in Regina.

SWG Freelance Jun / Jul 2015

Writers Working Harder - Earning Less By The Writers’ Union of Canada

advances on sales), industry consolidation, as well as worldwide pressure on professional creators to work in a disastrously weakened copyright environment are all likely contributors.

The Writers’ Union believes these results represent a cultural emergency for Canada. For 81% of respondents, income from writing would not allow them to live above the poverty line, and the average writer’s income ($12,879) is a full $36,000 below the national average. This despite the fact that writers have invested in post-graduate education in large numbers.

Worse still, Devaluing Creators, Endangering Creativity, shows an embarrassing gender gap in writers’ incomes in Canada, with women writers earning just 55% of the income earned by their male counterparts.

he Writers’ Union of Canada (TWUC) has released today a summary report from its latest income survey of Canadian writers. Devaluing Creators, Endangering Creativity contains the very bad news that writers in Canada are making 27% less from their writing than they were making in 1998 (when last surveyed to this extent). What’s more, a full 45% of those surveyed indicated they are working harder in order to earn that lower amount.

“This is not a sustainable situation,” said TWUC Chair Harry Thurston. “If we want a strong and diverse publishing and cultural industry in Canada, it’s essential that creators are reasonably rewarded. Everyone — governments, corporations, institutions, and individual consumers — have a part to play in fairly compensating writers for the content they expect, need and enjoy.” Similar findings have emerged from recent income surveys in the United States and the United Kingdom. Writers’ incomes are in steep decline across the Englishlanguage publishing industry. Changes to contracts and publishing practices (declines in royalty percentages and

“The effect of weaker copyright protection in Canada is clearly indicated,” said TWUC executive director, John Degen. “Writers traditionally cobble together their income from many sources. Copyright royalties are a key part of that income mix, and our survey clearly shows that income slipping away from Canadian writers.”

The Writers’ Union of Canada believes there are near and long-term solutions to this emergency. TWUC has proposed tax incentives, strategic investments and regulatory changes to the federal government. Through the International Authors Forum, TWUC is also helping to lead the international discussion on best contract practices for writers. The Writers’ Union of Canada is our country’s national organization representing more than 2,000 professional authors of books. The Union is dedicated to fostering writing in Canada, and promoting the rights, freedoms, and economic well-being of all writers. For more info visit: writersunion.ca

Now Accepting Member Books For Ken Mitchell Library When your new book arrives, please consider placing a copy in the Guild’s reference library. The Ken Mitchell library holds an extensive collection of great Saskatchewan literature by members and we’d like to keep this wonderful selection of resources current. We also accept your older books, if they aren’t already in this valuable collection. The Ken Mitchell Library is open during regular office hours from 8:30 am to 5:00 pm It is open to SWG members to use and is a vital resource of Saskatchewan literature. Donations of new books by SWG members can be made by mail or droped off to the following addresses: Mailing Address Saskatchewan Writers’ Guild Box 3986 Regina, SK, S4P 3R9

Courier Or Drop-Off Address Saskatchewan Writers’ Guild Suite 100 - 1150 8th Avenue Regina, SK, S4R 1C9

SWG Freelance Jun / Jul 2015

Writing Picture Books: Part Three By Dianne Young

f you want to write picture books you need to read them. A lot of them. And not just the ones you read as a child or you read to your children – new ones. Every year there are Best Picture Books lists available. Almost every week CM: Canadian Review of Materials (umanitoba.ca/cm) posts reviews of new children’s books including picture books. The Canadian Children’s Book Centre publishes their Best Books magazine twice a year. Use these resources and request the books from your local library. Ask a children’s librarian (school or public) what picture books they would recommend. Read, read and read some more. Why? For one reason, if you read a lot of picture books you will discover that some you like and some you don’t. Perfect! What was it about the good ones that made you like them? What was it about the bad ones that turned you off? Be wary of the things you didn’t like turning up in your own writing and emulate the things you liked.

Another reason to read a lot of new picture books is to get the feel for what works in today’s market. For instance, the length of picture books has dropped substantially in the last number of years. The general rule used to be that picture books should not exceed 1000 words. Nowadays it’s more like 700. “But I’m going to self-publish my book, so I don’t need to worry about what publishers are looking for.” What publishers are looking for is books that will sell. Unless you are not interested in selling your book, you should pay attention to what publishers are looking for. But remember, don’t bother chasing trends. Another thing you can do to improve your writing and your chances at publication is to join a writing group that focuses on writing for children. Can’t find one? Start one! Put a poster up at your local library. Put a notice in Ebriefs. Having your work critiqued and critiquing other people’s work will improve your own writing. However - never submit your first draft to anyone. Not your partner, not your writing group, and certainly not a publisher. If you get your new work critiqued too early it may dampen your enthusiasm for the story. I know it’s hard when you’re excited about a new story, but it really is a good idea to put it away for a week and then look at it again. Do at least one revision on your own. You don’t need to put page breaks in, but is there enough of a story to fill about 30 pages with words and illustrations? Is it under 700 words? Can you get rid of some adverbs and

use stronger verbs instead? Is there too much description? Once you’ve revised your manuscript at least once, then share it with your writing group. Listen to their comments – without interrupting to explain. Whether you use their suggestions or not is up to you. “Do I need an agent?” No. Truthfully, it’s just as hard to find an agent as it is to find a publisher. It’s unfortunate that some publishers now only accept agented submissions, but there are still those who accept submissions from authors. If you do decide to try and get an agent, be wary. Reputable agents do not charge a reading fee! Do your research and only submit to agents who represent picture books. Get your writing group to critique your query letter. If you are submitting to a publisher – also do your research. Read their submission guidelines and follow them. Be professional. Expect rejections. I don’t know of anyone who hasn’t gotten them. Revise your story or write a new one, or do both. The more you write, the better you will get. If you believe in a story, don’t give up. My latest picture book, Dear Flyary, took sixteen years and many revisions before it found a publisher. And then it won the SaskEnergy Children’s Literature Award at the 2014 Saskatchewan Book Awards. I hope this series has been helpful. If you have a question about writing picture books that I didn’t answer, feel free to email me at: dianne.young@sasktel.net.

Find Saskatchewan Writers and Services

This 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

SWG Freelance Jun / Jul 2015

8, 15, 22, 29

12, 19, 26

SWG Freelance Jun / Jul 2015

A Story of Story Finding By Jesse Archibald-Barber

or the past several months, I’ve been researching the history of Indigenous writing in Saskatchewan. Many literary historians mark the beginnings of modern Indigenous literature in Canada around 1973, with the publication of Maria Campbell’s Half-Breed. They tend to characterize the time before as a period of “voicelessness” for First Nations writers and for First Nations people more generally. However, when you take a look, it turns out that this term is really just an empty postmodern concept extended back over our history. If you go to the archives and if you talk to the elders and artists in the communities, you’ll find that there are hundreds, thousands, indeed countless stories out there, in decade after decade going back in time.

There is one story in particular I’d like to share, not only because of its important content but also because of the story surrounding its publication, and that’s the story of A Winter of Hardship by Chief Thunderchild. According to Ruth M. Buck and Stan Cuthand, Thunderchild was born in 1849; he was one of the great chiefs of the plains, and, significantly, he was the last chief to sign Treaty 6. He followed Big Bear in holding off for a better deal, and he insisted on, among other things, at least one school for each reserve, as he saw the importance of education for his people, what Blair Stonechild would later call “the new buffalo.” Thunderchild eventually signed his adhesion to Treaty 6 and settled his people. He lived a long life and passed away in his 70s in 1927. But before he passed away he met a man named Edward Ahenakew. Edward Ahenakew was born in 1885 and grew up on Sandy Lake, Ahtahkakoop First Nation. In the early 1900s, he attended Emmanuel College, an Anglican theological school in Saskatoon. By the 1920s, he realized the loss of language that was happening among his people. The residential schools system was well underway, which, among other things, suppressed the people’s language. He recognized that if the language disappeared, the stories would disappear, and if the stories disappeared, the heart of a people’s culture would disappear. In response, he started a newsletter called the Cree Monthly Guide, and he published it until he passed away in 1961. Significantly, the Guide was written in Cree syllabics with translations. With this, even though the Guide contained mainly church matters, we know that any notion that First Nations people were voiceless at that time is misleading. Here were voices; they just weren’t being listened to.

Something else happened around this time; in 1922 when Ahenakew became ill, he traveled to Thunderchild’s reserve to convalesce. Thunderchild would visit him at his cabin, and they would tell stories to pass the time. Ahenakew realized the importance of preserving these stories, so everyday Thunderchild would tell his stories and Ahenakew would write them down in Cree. The stories are from the times of the great buffalo hunts, of the Sun Dance, of the Thirst Dance, stories from the time of the treaties, and stories of great hardship. Thunderchild told Ahenakew many stories, but one in particular is the story of A Winter of Hardship. I’ll paraphrase it here for brevity (apologies to Thunderchild and Ahenakew). Thunderchild talks about a winter that was particularly long and cold. He and his brothers would go hunting, but the buffalo had become scarce. The animals had gone away, and they couldn’t get to them. Sometimes they would find old bones scattered on the land, and they would try to boil them to get the grease, but even that was rancid. Thunderchild describes how they would trap foxes, but when they went to trade them, they would get only tea and sugar from the traders, and no pemmican for sustenance. So Thunderchild’s group had to venture farther out of the woodlands and onto the plains, where there were no trees to build traps. They were told about Fort Pitt, and how there might be food there, and so they started to move north. They had horses and dogs with them, but packs of wolves would follow them as they walked. At night, the dogs would chase the wolves, and sometimes they would kill one, but more often the wolves would kill one or more dogs. The group too had to kill their own dogs to eat, and one by one they killed their dogs and then their horses, until they had no more. Along the way, they met another group led by a man named Night Scout. He told them of other groups that were moving north, likewise starving and cold. Many of them had perished, entire families of people, in the snow over night. Things had become desperate. Night Scout’s people killed one of their horses, but refused to give any meat to Thunderchild’s people, leaving only the skin, which they boiled to eat, but it didn’t give them much strength. Thunderchild’s people grew weaker, while Night Scout’s people continued to move north. Thunderchild then describes how the men had become too weak to move, but the women, even though they hadn’t eaten, still had the strength to gather wood to make a fire, to keep the people warm. It was around this time that one night Thunderchild had a dream: he’s sitting

SWG Freelance Jun / Jul 2015 by himself when he hears a voice telling him to save his people and go south. When he looks to the south, he sees all green, and when he looks north, he sees all darkness. When Thunderchild awoke, he told his father about his dream, and his father told him that ‘dreams count,’ and to take the people and go south. It was a critical decision, but eventually Thunderchild decided to turn his people south, and again they walked and walked. By this time, winter was starting to break, and Thunderchild describes how they were able to kill some gophers, but it wasn’t enough. So they traveled farther south until they reached the river, where they camped. One day, Thunderchild was sitting alone on a hill looking out across the land, when he saw a big snowdrift with something hovering over it, flickering in and out of view. He walked over and found a pole sticking out of the snowdrift with a piece of tattered cloth on top. He began clearing away the snow and found some buffalo hides, and when he lifted them up, he found the meat of two buffalo cut into pieces. He became excited and thought about his dream. He piled as much meat as he could on one of the hides and started dragging it toward camp, but he didn’t have the strength to make it all the way. Again it was the women who were able to gather all the meat and bring it back. And so the people ate, and so the people survived. By then, spring was returning, and Thunderchild’s people were regaining their strength. Others came by the camp, Cree, Blackfoot, and Stoney, and one group was kind enough to give them some horses and carts, restoring some hope to the group. It was around this time that Thunderchild’s father said to him again, ‘dreams count son; the spirits guided us.’ But despite this, at the end of that winter hardship, Thunderchild concluded never to depend on others again. It was shortly after that he signed his adhesion to Treaty 6 and settled his people, and he kept his people together and lived a long life. And so, Thunderchild ends this story – but the story of the story doesn’t end there. Although Ahenakew had written the story down in 1923, when Thunderchild passed away in 1927, it had still not been published. Why not? Thunderchild’s stories are so fascinating and rich; they are real stories of the land, and Ahenakew wasn’t just some foreign anthropologist collecting materials for his doctoral dissertation; he was of the land and he was recording the stories of his people. But we have to remember that Ahenakew worked for the church, and he would have been under a lot of pressure. Think about what it would have been like for him to publish those stories, as the church frowned upon the dissemination of what it considered to be pagan traditions; rather, Ahenakew would have been expected to proselytize the parables of Christ. So, despite Ahenakew’s efforts, those stories remained unpublished, year after year, until he passed away in 1961. It wasn’t until after his death that his niece found the manuscript,

tattered and yellowed, buried away in a drawer in his cabin. She knew the importance of what she had found, and eventually the stories were edited by Ruth M. Buck, with the help of several translators, and published by the Canadian Plains Research Centre in 1973 as Voices of the Plains Cree. Let us think about this for a moment. These are stories of real, lived experiences from the 1870s, which Thunderchild then told to Ahenakew in the 1920s, but then weren’t published until 1973, about 100 years after they were first experienced. This raises all kinds of interesting questions, like how do we frame stories like these? In which period do we include them? Do we date the stories by when they happened, in the 1870s, or do we date them when they were told in the 1920s, or is it not until they were published in the 1970s that they then count as part of the canon of recorded literature? In any case, what this does tell us is that the period before the 1970s, which has long been characterized as a period of “voicelessness,” really wasn’t a time of silence for First Nations writers and storytellers. There are countless voices that speak to us from across history. Indeed, rather than the idea of voicelessness in the past for First Nations people, I think it more accurate to characterize it as a time of deafness on the part of Canadian society. And now is the time these voices are heard again. This is a story about story finding, and it speaks to the assumptions we have about Indigenous writing and storytelling. Our past is not voiceless. Our stories are out there, like stores of buffalo meat buried under the snow, waiting to be found. They are everywhere on the land. Waiting for us. Jesse Archibald-Barber is from Regina and is an associate professor of Indigenous literatures at the First Nations University of Canada. The article is from a story ArchibaldBarber told for the Sâkêwêwak Storyteller’s Festival at the Artful Dodger on February 26, 2015, as part of the events for Aboriginal Storytelling Month.

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SWG Freelance Jun / Jul 2015

Bring Home The Bacon: How To Find Writing Grants By Toby Welch

riting grants are like a wrapped, bow-tied gift from the writing Gods. They give you the gift of time to focus on a writing project while easing the financial burden of doing so. People often think that grants are only for the elite few in Canada, the super successful published writers. But that isn’t the case. New writers are eligible for some of the grants offered. And being a Canadian writer is a fabulous thing as the financial support offered to writers in this country is impressive, comparatively speaking.

If you receive a writing grant, you don’t have to repay the money back. Grants are just that – money granted to you. They are not loans that need to be paid back. They can be for as little as $500 and go as high as $25,000 in Canada. Almost every aspect of writing can be eligible for grant money. Not just the writing itself but also for professional development, attending literary readings, traveling to a literary festival, research funding, and travel for your writing project, among many others. Depending on where you live in Canada, the grants available to you vary widely. Grants are available at several levels - national, provincial, and municipal – and differ from province to province and city to city. Your local arts council will likely be able to fill you in on grants available to writers in your area. That said, consider looking internationally for grant sources, too. If you are doing a project that involves Iceland for example, look to that country for grant opportunities. The Saskatchewan Arts Board is the main source of grants in our province. Through their Independent Artists Grant Program, a wide range of grants are available for all levels of writers. They include grants for creative development, traveling, and research. Indigenous writers can apply for grants through the Saskatchewan Arts Board’s Indigenous Pathways Initiative as well. Our neighbors on either side can look for grants through the Manitoba Arts Council and the Alberta Foundation for the Arts. The Canada Council for the Arts is a major supporter of grants Canada-wide. As long as you aren’t an unpublished writer, look to them for grants for creative writing projects, travel, literary readings, attending literary festivals, and aboriginal writers. Their creative writing grants support a variety of project types – fiction, poetry, literary nonfiction, graphic novels, and children’s literature, among others.

(The Canada Council for the Arts also supports writers by providing financial assistance to organizations to enable them to host Author Residencies – very cool!) When you’ve narrowed down a grant or two that you are interested in, each program has its own requirements; check closely into them. Applying may be as simple as filling out a form and submitting a writing sample or as lengthy as a dissertation. Here are some tips to increase your chances of having your grant application accepted: • Give your grant application 110%, as you would when writing a novel, article, or any other writing project. • Take the time to familiarize yourself with the organization you are applying to as that will show through in your application. • Treat each aspect of the application as important. For example, the cover letter needs as much work devoted to it as the application itself. • Use brevity. Consider how many applications the judges have to sift through. Put yourself in their shoes – they will appreciate clear, concise writing over rambling. If they say to keep it between three and five pages, aim for three. • If you are required to include a spending plan, don’t gloss over the details. • Do your research. • Be very specific in your application. They want to hear the details. (I know I just finished discussing brevity but I assure you that you can be detailed and brief at the same time.) • If your topic idea is too broad, narrow it down. • If you are required to submit a CV with your application, take the time to make it the best you possibly can. Ensure that it reflects that you are a serious writer, not a hobbyist. • Before submitting the application, double check that you have fulfilled all the grant requirements. And triple check that you created a compelling case

SWG Freelance Jun / Jul 2015 for why your project should be chosen for a grant. • Deadlines are nonnegotiable. Submit your application well before the cut off date. Having trouble making your grant application as polished as it could be? As grant applications require a specialized type of writing, it’s not something that comes easily to most people, even writers. Grant writing has its own verbiage and key words that can be challenging to pinpoint. Consider enlisting the services of a grant writer. Or attend a grant writing workshop or class to get more pointers. You’ll be surprised at the number of resources available to help you with writing a grant application. PWAC (Professional Writers Association of Canada) has put on seminars called Show Me the Grant Money. Towns sometimes offer resources to help writers. The Richmond Cultural Centre in Richmond, BC, offered workshops on grant writing for local artists. The Saint John Free Public Library in New Brunswick offered a seminar on how to write grants. The Vancouver Trade School offered an evening course on writing grants. Keep your eyes out for similar opportunities where you live. Critic, biographer, and poet Keith Garebian received a $25,000 grant from the Canada Council for the Arts in 2014 to complete a biography of William Hunt, a Canadian actor. He started the project a couple of years ago and the grant will enable him to focus completely on the project and bring William Hunt: An Actor’s Life to completion. Garebian stated in an interview, “What makes the Canada Council award especially gratifying is the fact that I now feel a broad, national validation of my project and literary credentials.” Hopefully his story will inspire you to apply for a writing grant that is suitable for your writing situation. One word of caution: beware of the amount of time you spend applying for writing grants. One Regina-based writer was horrified to admit that she spent more time applying for grants to complete a writing project than the amount of time it would have taken her to complete the entire project. She didn’t realize how grant applying could consume your life if you aren’t careful. Learn from her and don’t let grant applications become the only writing you do. If you apply for a grant and get turned down, don’t let that sway you from applying again in the future. As a writer, you can take a little rejection from time to time. Brush the teardrop stains off your keyboard and give it another whirl when another suitable grant is offered. You never know when you will get a cheque in the mail! Disclaimer - The information provided is current as of the writing of this article. Changes in eligibility criteria and grant application details may happen before press time. Confirm all information with the grant sources that you are interested in. And good luck!

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SWG Freelance Jun / Jul 2015

Questions for Publishers By Jackie Lay

he more I work with authors, the more I realize there is a lack of understanding about the reality of publishing today. Author expectations of their publisher are often unrealistic and can take away from productive marketing strategies. If you are published by a small press then it is important to know they have limited resources, a small staff, and an even smaller budget. It is important, if you are an author, to learn about the business of publishing, because through this understanding you will learn what reasonable expectations are of your publisher and how you can help them do their job more successfully.

The first small press I worked for, I spent a lot of time managing unrealistic expectations. When I started addressing this issue head on, I was then able to spend time focusing on what would sell the book with what little resources I had to do this. I find that once a writer has a realistic understanding of their publisher’s abilities the marketing process becomes a more fruitful endeavour. And efforts can be put into maximizing the resources that exist. What do you need to know? Ask your publisher who their distributor is. A distributor is a company that warehouses and ships books to book buyers such as bookstores and libraries. Book buyers want to deal with established distributors. If your publisher does not have a distributor then your book will not have the potential to get into stores across Canada. However, some presses, even if they don’t have a distributor may have established themselves as vendors of choice with certain companies like Chapters and may ship books themselves. If your publisher does not have a distributor or has not developed vendor of choice shipping relationships you will have to be the one getting your books in the bookstores. Does your publisher have a sales force? If they do, who is it? Sales reps go into book stores and talk to the buyers and get books into stores and libraries. The sales force is often an independent company apart from your publisher and can sometimes be a side arm of the distribution company. Ask when your book will be in bookstores and what bookstores. Will it be in bookstores across Canada? If so,

which ones? Ask them to give you a list. Do not do any media or a launch until this happens. If you do, people will get frustrated when they hear about your book and can’t find it in any bookstore. Ask how your publisher plans on marketing your book. Do they have a publicist on staff? Will they be doing media releases? Where will they do the releases? Provincially? Nationally? Ask to see the media releases that will go out. Don’t expect to receive national media attention, if they don’t plan to do this. Also don’t expect national media attention if your book is one of local interest, not national. For example a book on Saskatchewan history will not get placed in Toronto bookstores and may not get covered in the Globe and Mail. Marketing needs to be timely. Review copies of your book or galley copies should go out in advance of the book’s publication along with a media release that states the expected release date. The release date on the media release should be the date your book will be in stores. A galley is a bound photocopy of the book and can be an unedited version or partially edited version of the book, it just needs to say so on the front cover of the galley. The Globe and Mail, National Post, Quill and Quire, and Publishers Weekly request review copies to be sent 4-6 months in advance of publication. These publications plan that far ahead of time what they will review. It is important to accommodate this or you will lessen your chance at national review attention. Ask where they are sending your book out for reviews? Have you been asked for your input on the review list? If you have, send your response as quickly as you can. A timely response is very important, as your book is not the only book they will be working on. Are they doing a catalogue? If so when? Who will the catalogue go out to? Will your book be advertised? If so, where? If there isn’t a budget for this don’t have expectations for this to happen. Small publishers often don’t have budgets for advertising. Will your book be entered in awards? If so, where? If they are only going to enter your book in some awards, then you can often enter certain awards as the author yourself.

SWG Freelance Jun / Jul 2015 Ask where the metadata about your book is being distributed. And when? Metadata is the information about your book like the ISBN, price, book description, and cover etc. that go out to places like Amazon, Bowker, Chapters, and Library Bound that ends up on their databases so they can be purchased. If they are not sending out the metadata about your book then your book will not be purchased by libraries, bookstores and wholesalers unless you let them know. As an author you can apply for marketing and travel funding from the Saskatchewan Arts Board, Creative Saskatchewan and Canada Council. These grants can fund you touring around to do book readings. Find out if you are eligible, when the application deadlines are, and how to apply. As soon as you know your book is being published do this.

(goodreads.com), do a write up about your book for the Read My Book section in the QC or Bridges, and bookclubbuddy.com. The point is to know what to expect. If your publisher has limited resources, help them where you can. If you are not willing to help, then maybe, understand that your book may not sell. Jackie Lay is a publicist, freelance journalist, and book publishing consultant in Regina. Formerly she was the marketing and sales coordinator at the University of Regina and Hagios Press. To contact please email: j.lay@sasktel.net

There are numerous opportunities for author’s to set their books up on websites and promote themselves and their books for free. Some examples include: Goodreads

Call For Nominations Cheryl & Henry Kloppenburg Award For Literary Excellence This prestigious award was established in May 2010 by Cheryl and Henry Kloppenburg. It honours a Saskatchewan writer who has written a substantial body of acclaimed literary work with a prize of $10,000 and a painting by Saskatchewan artist Dorothy Knowles. The three Honorary Patrons of the Award are the Lieutenant Governor of Saskatchewan, the Mayor of the City of Saskatoon, and the President of the University of Saskatchewan. The presentation is made annually in Saskatoon in the fall, hosted by the Saskatchewan Writers’ Guild. Cheryl and Henry Kloppenburg present the award. Deadline: Nominations for this award are due by 4:30 pm on June 30, 2015 Please mail your nomination to the Saskatchewan Writers’ Guild at P.O. Box 3986, Regina, SK, S4P 3R9 or by courier to Suite 100, 1150 - 8th Avenue, Regina, SK, S4R 1C9. For nomination forms and more information about the award, please visit:

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SWG Freelance Jun / Jul 2015

Be Kind To Your Ink-Blotched Friends By Kay Parley

y friend was one of those stimulating people who never lack for an idea. Beyond a few papers at university, she didn’t write much herself, but she loved to spend an evening tossing around characters and plots. On one occasion we came up with a reasonable plan for a story and I went ahead and wrote it. When she heard that I had submitted the story she asked promptly if I had used both our names. I hadn’t. Because I wrote it, I thought it was mine, but she reminded me that the largest portion of the idea was hers. She was a little miffed, and it was a lesson I never forgot. It could have cost me a friendship and friendship does not come cheap. No amount of success or fame is worth the price of another human being. I made up my mind right then that I would always acknowledge my creative debts, however small they might appear to be.

It isn’t surprising that the temptation to cheat is rife among creative people, because ideas ferment constantly in creative minds and it is often impossible to know where an idea really originated. When caught up in the excitement of creating a product, it is also very easy to forget. A few years ago Colleen McCullough published Ladies of Missalonghi, such a close parallel to L.M. Montgomery’s The Blue Castle that I wrote an Australian newspaper pointing out the similarity. That led to a lot of questions being asked and McCullough denied ever having read The Blue Castle. Either she had forgotten or some rare form of mental duplication had taken place. I have been personally vulnerable to being ‘ripped off.’ I was raised in an old-fashioned church-centered rural community where people were mostly honest and trustworthy. We didn’t even have police. When people ask me for help, I automatically give all I can. I suppose the fact that I am a teacher makes it worse. I have spent hundreds of hours editing and criticizing for writer friends. I am so used to having my brains picked that I’m hardly aware of it going on. I have learned to ask for credit in the event of publication. Sometimes people remember. Sometimes they don’t. The late Lorne Greene was well known for his missionary zeal. He loved to preach ethics and morals to his students, and I was lucky enough to attend his Academy of Radio Arts in Toronto in the forties. He talked about the temptation for people in show business to use other to get ahead, regardless of who might be hurt. Lorne Greene said, “Don’t step on faces on your way up the ladder. They’re the same people you are going to meet on the way down.” I never forgot that advice. It should hang on every

Kay Parley. Photo courtesy Kay Parley. creative’s wall. Once I spent a month of evenings editing the first draft of a book a young friend was writing. Of course I stipulated that, in the event it was published, I wanted to see some credit for my work. The book was published and a success. I was thrilled to find he had dedicated it to me, but my name did not appear in the list of acknowledgements to those who had actually helped with the book. I’m not sure whether I should be crying or shouting with joy about that one, because dedication is the greater honour. Usually, when people fail to acknowledge assistance, the oversights are slight, but sometimes they are quite unforgiveable. An acquaintance was having difficulty with a book she was writing about an immigrant community. She needed to find a focus and she wanted to draw some conclusions. Since I was teaching sociology, it was easy for me to analyze cultural differences. I edited the manuscript and wrote three or four pages of notes suggesting how it might be summarized at the end. She made use of my suggestions, even quoting at length from my notes. Then she gave the credit to someone else. My name didn’t appear anywhere in the book. When I pointed out this rather blatant oversight, she said, “I forgot.” Imagine how much help this woman will receive should she ask me for

SWG Freelance Jun / Jul 2015 assistance again. There are many things which could be said about ethics, about fairness and generosity, but the practical nitty-gritty comes to the fore, flashing its warning lights. Keep your reputation and your good relationships. Next time you publish anything, stop to ask yourself if anyone has given you sizeable help in the form of ideas, input, and then make sure their help is publicly acknowledged. Writers can use all the publicity they can get and the smart ones boost each other. A word of thanks costs nothing and it is never misplaced. When questions arise about what is your exclusive property and what is not, do not rely on the law as your guide. Something can be perfectly legal and still be downright unethical. The watchwords are simply, ‘Be kind.’

Kay Parley is an author and newspaper columnist. Her books include, They Cast a Long Shadow, Lady with a Lantern and The Sixth Age. Kay Parley is now living in Regina, SK.

Why do we go on doing it when we know our contributions may be ignored? Why do we continue to sit up late evaluating someone else’s piece? The answer is simple. We want to promote good writing. If you call yourself a writer, a certain amount of tutoring goes with the name, and the work of teachers is rarely acknowledged. This reminds me: thank you to Dorothy Shea for going over my work with her editor’s eye. Her help has been invaluable.

Writer-In-Residence Wanted For Facilitated Retreat The Saskatchewan Writers’ Guild is seeking a Writer-in-Residence (WIR) for the annual Facilitated Retreat The Facilitated Retreat will take place at St. Peter’s Abbey, Muenster, from November 12-15, 2015. Payment is $1300 (plus GST if required). Private room and meals are provided, but the WIR is responsible for their own transportation to and from the facility. Qualifications: • Experience in a teaching or mentoring situation with beginning writers in a different genre • An extensive publication history, including at least one book To apply, submit your CV, the names and phone numbers of two people familiar with your teaching/mentoring ability, and one or two paragraphs describing your approach to teaching/mentoring writers. Preference will be given to Saskatchewan residents. For more info contact: programs@skwriter.com Send your application made to the Retreat Coordinator: Box 3986, Regina, SK, S4P 3R9. Deadline for receipt of applications for this contract position is July 31, 2015

SWG Freelance Jun / Jul 2015

Cos(play) And Effect By Wes Funk

ressing up isn’t just for Halloween anymore — I was recently reminded of this when I was both a panellist and a vendor at FanExpo in Regina — the culture of costume play (cosplay) is exploding across the world. Folks of all ages from all walks of life have embraced the rage. From tradespeople to office executives, from adventure-craving teens, to busy older parents, and from children to senior citizens. There doesn’t seem to be any set class of people or race who’ve embraced the fantasy of being their favourite superhero, or fairytale princess or dashing leading character.

Nothing is off-limits — Star Wars to Star Trek, X-Files to X-men, Dr. Who to Dr. Seuss — no character seems out of reach. I guess my complaint is the usual – the writer is the unsung hero! For example, it’s great that fans want to portray a character from The Hunger Games or the anime hit, Attack on Titan, but do fans fully realize that the greatness of those stories comes from writing — someone had to write those stories in order for them to wow readers.

One fantastic element of cosplay culture is that most of these participants have actually made their costumes — some spend countless hours in basements and sewing rooms, toiling endlessly to put together getups that emulate that of their favourite characters. And that’s just the beginning! Once any great ensemble is created, it needs to be flaunted!

A pint sized Boba Fett, the bounty hunter from Star Wars, at FanExpo in Regina. Photo courtesy Corey Wilkinson

Wes Funk. Photo courtesy Wes Funk A lot of these fine folks look for almost any reason to throw on their spandex and capes and masks. Comic expos or ‘cons’ are all the rage - these ‘nerd-fests’ have been around for decades but thanks to popular TV shows like The Big Bang Theory, they’re an exploding phenomenon too. If a person has even a shred of love for pop-culture, these weekend arena events are a lot of fun with artist alleys, collector vendors, celebrity photo-ops and of course, author tables. As someone who has tackled his own fair share of comic expo gigs, I can attest to the fact that there’s hardly a grimace in the place — whether or not attendees dress-up or not, smiles are everywhere and people are happy to simply let their guard down and purchase whatever action figure or T-shirt they have always wanted to own but were ashamed to. And the guilt-free fun doesn’t stop there — leagues of cosplayers have formed — likeminded individuals banded together to magically show-up at fundraisers and festivals. Let’s face it — nothing brings life to an event like the Justice League swooping in and who better to persuade wealthy businessmen to donate to a charity than a smiling scantily-clad Wonder Woman — who knew? Some cosplayers don’t need any excuse at all to dress up. I’ve been browsing in comic shops and turned

SWG Freelance Jun / Jul 2015 boats? Is it because of the same reason we read and write? Escape? — that desire to lead someone else’s life for a while. Is it attention? — most superheroes are the life of any party. Or is it merely that need to do something creative?

Cosplayers dressed as Black Widow and Ultron, from Marvel’s The Avengers duke it out at FanExpo in Regina. Photo courtesy Corey Wilkinson to see The Joker and Bane nonchalantly stroll in to buy the latest of their favourite title. When I’m at an event where cosplayers manifest, I wonder if this is a trend that will simply fade away or something that will explode even further. Somehow, I think it’s here forever (I hope so!). Like a lot of popular cultures, a lot of subcultures have sprung out of the cosplay world — there’s the Anime crowd (those who only dress as Anime or Manga characters), the Furries (those who only dress as furry animals), the Steam-Punkers (those who copy the vibe of steam-punk genre), and even the Bronies (boys or men who are not afraid to admit their love for My Little Pony and some who even dress like their favourite ponies). Then there are offshoot activities of the cosplay world — larping (live-action role-playing) is becoming bigger all the time and some hardcore Trekkies have even setup faux Enterprise bridges and engaged in their own galactic adventures — they even film them. And then there are those who actually follow the con circuit — like crazed rock band fans who stalk their favourite touring group from concert to concert and city to city, some cosplayers travel from province to province and state to state, to attend as many cons as they can in the course of a year. Some cosplayers have even made a career of the activity and become professional characters for hire for birthday parties and other events. Others rely on competitions to supplement their income. Whether you’re a fan of comic expos and cosplay or not, one has to question why. What is it about cloning yourself as a favourite hero (or villain) that floats some people’s

And creative they are! For example, if a young woman decides to dress as Princess Leia, she may not simply dress as Leia but in some kind of altered form of Leia like a gothic Leia or new-age bohemian Leia. Same with Velma (from Scooby-Doo) — the typically frumpy Velma can be reworked into a slinkier more desirable Velma and finally give Daphne a run for her money. Gender-bending is big too — a husband and wife might shake it up by the woman being The Joker and the man being Harley Quinn. Sometimes the whole family gets involved — I’ve seen many father and son Kirk and Spocks and large groups become the whole cast of The Avengers. So, when next year’s FanExpo rolls around, throw on a replica of some favourite character (or invent your own!) and spend a few hours milling about the arena – I guarantee you’ll find something there that will feed your own imagination. Wes Funk is the author of Dead Rock Stars, Cherry Blossoms, and Wes Side Story. 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 lives in Saskatoon, SK.

SWG Freelance Jun / Jul 2015

The Space-Time Continuum: Two Roads By Edward Willett

Two roads diverged in a wood, and I — I took the one less traveled by, And that has made all the difference. - Robert Frost

hen Robert Frost wrote his famous poem The Road Not Taken, he clearly didn’t have in mind the many-worlds interpretation of quantum mechanics, which postulates there is a very large — perhaps infinite — number of parallel universes, in which anything that could have happened in our past, but did not, in fact did.

Still, even shorn of its quantum-mechanical underpinnings, the idea of the choices we make today altering our future was hardly original with Frost. The story of Adam and Eve, to name one obvious example, is all about having a choice, and making the wrong one. Had Eve not tempted Adam, and had Adam not yielded to temptation, we would, The Bible tells us, all be living naked in the Garden of Eden. But Frost’s poem expressed the concept elegantly and concisely, and illuminated a truth we all face on a daily basis. For example, while admittedly it is not as consequential a choice as the one which resulted in humanity being forced to earn its living by the sweat of its brow before returning to the dust from whence it came, at this point I now have two directions I could go with this column. I could write about the sub-genre of science fiction known as “alternate history,” or I could write about the choices one makes during the writing process. This time, I’m going with the latter (although, if the manyworlds interpretation is correct, in a parallel universe I am writing that other column right this minute). What got me thinking about roads not taken was the editing process for my upcoming science fiction novel Falcon’s Egg (Bundoran Press), a sequel to 2013’s Right to Know. The main character of Falcon’s Egg, Lorn Kymball, was a teenager in Right to Know. Idealizing Art Stoddard, the main character of that novel, Lorn foolishly plunged into an active revolution, was critically injured, and then killed several crewmembers of a starship (and very nearly himself, as well) by blowing open a hatch. In the seven years since, he’s joined the State Security Intelligence

Edward Willett. Photo courtesy Edward Willett. Network — the state police — and for a while gamboled merrily along through fields of mayhem, mopping up the dangerous religious fanatics of the previous book. But recent events have made him question his commitment to the SSIN, and so when he finds himself caught up in yet another attempt to overthrow the government, he’s conflicted. It took me quite a bit of writing in the first draft to grasp that his internal conflict was the real conflict of the book rather than the external conflict, although writing the external conflict, involving as it does killer robots and exploding starships, was more fun. And even though I recognized that fact, I struggled with delineating it. Enter my excellent editor (and publisher) at Bundoran Press, Hayden Trenholm, who noted that in the draft I sent him, “what he (Lorn) was doing was interesting but he wasn’t very interesting himself.” In other words, I had oodles of external conflict, but I still hadn’t nailed down the heart of the novel, Lorn’s internal conflict. Hayden suggested two roads I could follow to make the story work: either Lorn, in response to the violence he’s

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been exposed to and committed, becomes a cold-blooded heart-of-stone killer, or he becomes a tortured soul barely holding it together, who still manages to save the day. He thought the latter more interesting, and so did I, and thus that’s the path Lorn takes in the revised version of Falcon’s Egg I recently submitted. But I could have taken the other road. That’s one of the most fascinating things about the stories we tell: we are constantly making choices, as writers, about what happens next. (Indeed, that’s the question that drives all stories, and has since the primeval campfires of our ancestors: “And then what happened?”) What happens next determines what happens after that, and after that, and after that, yet at each fork in the road, there is another way to go, another story that could be told.

No matter what you are writing — science fiction, fantasy, literary fiction, poetry, even nonfiction — at every step along the way you are faced with choices. Strive to make the most interesting choices...and leave the boring ones to the versions of you scribbling away in parallel worlds. Edward Willett is a freelance writer and performer in Regina. He is the author of over 50 books.

So how do we decide which road to take? I try to choose the most interesting road — the one that leads the story in a direction that I will enjoy writing, and (more importantly) readers will enjoy reading. That doesn’t necessarily mean the happiest direction, but nor is it automatically the grimmest. It usually does mean (I hope) the most surprising. Nothing is more boring than predictability, and there are many venial literary sins I will gladly commit to avoid the mortal sin of being boring.

Thanks To All Who Submitted to Grain The submission window for Grain magazine is now closed. Grain will begin accepting submissions on September 1, 2015 Grain will continue to publish engaging, surprising, eclectic, challenging writing, and art. Guest Editors will be looking for imagistic pieces, distinctive and unique voices as well as artistic leaps from established authors and new and emerging writers. Grain looks favourably upon both older literary traditions and trail-breaking prose and poetry, fiction and creative nonfiction. Visit the Grain website: grainmagazine.ca/submit for the complete Submission Guidelines.

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Books by Members

The Lake in the Clouds By Edward Willett Coteau Books ISBN: 9781550506167

Daddy Lenin and Other Stories By Guy Vanderhaeghe McClelland & Stewart ISBN: 9780771099144

nakamowin’sa By Rita Bouvier Thistledown Press ISBN: 9781771870559

In the third instalment of this modern take on Arthurian legends, Ariane – descendant of none other than the Lady of the Lake herself – is on the run and on her own. Using her powers to keep avoiding Rex Major’s agents makes her too weak to detect the next Shard of the broken sword she must reunite. And her erstwhile best friend and sidekick Wally has switched allegiance and is living a pampered life at Rex Major’s right hand.

Bestselling author Guy Vanderhaeghe’s new book of fiction, Daddy Lenin and Other Stories, is both timely and timeless and showcases his supreme talent as a storyteller and poignant observer of the human condition.

Rita Bouvier’s third collection of poetry is a response to the highs and lows of life and represents an attempt at restoring order through embracing others, reconciling the traumas caused by the deep scars of history, and soaring beyond life’s awkward and painful moments in order to live joyfully. Inspired by the metaphor of a voyageur sustained by song on his journeys up and down the rivers of Northwest Saskatchewan, these “wordsongs for the seasons” draw heavily on images from nature as well as the joys, heartaches and transgressions Bouvier has witnessed and experienced as a Métis woman. Using imagery strongly connected to the natural environment, Bouvier evokes earth’s regeneration through the seasons as inspiration for moving forward.

Perhaps worst of all, the powerful Rex (aka Merlin) has the biggest network in the world, and has used it to find Ariane’s Aunt Phyllis – her mother’s sister, and the person she’s closest to. With her aunt under threat, Ariane has no choice but to walk straight into Rex Major’s trap. No longer using her powers to stay ahead of his spies, she can sense the third Shard. Now all she has to do is win back Wally’s friendship, protect her aunt’s life, figure out Major’s next move – oh, and get to New Zealand and safely back with the Shard whose song is beginning to call her… Visit: shardsofexcalibur.com

Among these nine addictive and resonant stories: A teenage boy breaks out of the strict confines of his family, his bid for independence leads him in over his head. He learns about life in short order and there is no turning back. In the powerful title story, a middle-aged man remeets his former adviser at university, a charismatic and domineering professor dubbed Daddy Lenin. As their tense reunion progresses, secrets from the past painfully revise remembered events and threaten to topple the scaffolding of a marriage. With Daddy Lenin and Other Stories, award-winning author Guy Vanderhaeghe returns once again to the form that launched his stellar literary career. Here is a grand master writing at the height of his powers.

Rita Bouvier was born and grew up in Ile a la Crosse, SK, on the Churchill River System. Although she currently resides in Saskatoon, she remains strongly connected to her roots in Northern Saskatchewan. She has published two collections of poetry Blueberry Clouds (1999) and papîyâhtak (2004), and has been nominated for several Saskatchewan Book Awards.

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Calls of Interest Canada’s Next Parliamentary Poet Laureate: Nomination The nomination process is still underway to select Canada’s 7th Parliamentary Poet Laureate; Deadline: July 3, 2015 The role of the Parliamentary Poet Laureate is to promote the importance and value of poetry among all Canadians. The Poet Laureate holds office for a maximum of two years.

For more information on the Poet Laureate and the nomination process, please visit the Parliament of Canada Web site at: parl.gc.ca/ poet or contact the Library of Parliament at: 1.866.599.4999.

Aesthetica Creative Writing Award 2015: Call for Entries Now in its eighth year, the Prize is an internationally renowned award presented by Aesthetica Magazine that enables emerging and established writers to showcase their work to new, international audiences.

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.

The Walrus Foundation Announces Fourth Annual $5,000 Walrus Poetry Prize The Walrus Foundation is proud to announce the fourth annual Walrus Poetry Prize. Damian Rogers, the newly appointed poetry editor of The Walrus, will judge the contest for the first time, along with celebrated Canadian poet Sue Sinclair.

Judged by industry experts including Arifa Akbar, literary editor of The Independent and inewspapers, the prize awards £500 to each winner in Short Fiction and Poetry as well as publication in the Aesthetica Creative Writing Annual, a compelling anthology of new writing.

The Walrus Foundation and poetry editor Damian Rogers are dedicated to finding and publishing the best of Canadian poetry. Winners of the Walrus Poetry Prize have ranged from previously unpublished poets like Bardia Sinaee (Readers’ Choice, 2012) to known Canadian talents like Kateri Lanthier (Walrus Poetry Prize, 2013) to up-andcoming poets like Michael Prior (Walrus Poetry Prize and Readers’ Choice, 2014).

There are two categories for entry: Short Fiction (maximum length 2,000 words each) and Poetry (maximum length 40 lines each).

Readers and poets can participate every step of the way at thewalrus. ca/poetry-prize.

Deadline: August 31

Deadline: June 30

Luke Bitmead Bursary The prize was set up in honour of Luke Bitmead. His debut novel was the first novel Legend Press published but he sadly died shortly after the novel was published. The award has been set up to support and encourage the work of struggling writers, and is the UK’s biggest prize for unpublished authors. Submissions must be adult fiction, and only completed novels will be considered. Full guidelines can be found on our website. Deadline: August 1 Entry Fee: £10 per entry to support the prize

Tisdale Writers Group Writing Contest Original unpublished work only. For prose - up to 3500 words. Poetry - up to 40 lines. Make cheque or money order payable to Tisdale Writers Group. Do not identify yourself on your entry. Enclose a cover sheet with your name, address, telephone number, email address, the title(s) of your piece(s) and a word count (prose) or line count (poetry) along with your entry fee. Each page must be numbered and contain the title. Entries will not be returned. Prizes: $100.00, $75.00, $50.00 in each category Poetry and Prose Deadline: August 15 Entry Fee: $10.00 per submitted, non-refundable

piece

Eligibility: Open to Saskatchewan residents

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Send to: Tisdale Writers Group Contest, Box 365, Arborfield, SK, S0E 0A0

Springfield Writers’ Guild 22nd Annual Prose and Poetry Contest SWG members who enter any category will automatically be considered for a $100 award at no additional entry fee and in addition to other awards they may receive. This category judged separately.

Freelance Magazine Seeking Cover Artists Artists of all disciplines and styles are welcome to submit work. Freelance cover art is open to both members and non-members.

To Submit:

Bonus for SWG Members: Submit two entries and receive a special link to submit a third entry free of charge. One free entry per member.

Send Hi-Res (4MB+) images of the work in JPG, TIFF, or PDF form to swgmedia@skwriter. com. Include ‘Freelance Cover Art’ in the email subject line.

Questions? Contact Contest Chair, Yvonne Erwin: writer716@gmail. com

Artists are paid $80 if their work is chosen. 27

2016 Mentorship Program Call For Apprentices The SWG is seeking four writers who wish to develop their skills in the craft of creative writing. The program will run from January 1 to April 30, 2016. Deadline: Applications must be postmarked by September 25, 2015. Apprentices will be selected based upon 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

For detailed submission guidelines visit: skwriter.com

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Professional Development Sage Hill Experience

Teen

Writing

Kids from ages 14-18 can develop their creative writing skills with a professional writer by applying for this free summer event at: sagehillwriting.ca/teens Saskatoon: August 10-14 at the Frances Morrison Library Regina: July 20-24 at the Regina Public Library Sunrise Branch Moose Jaw: July 13-17 at the Moose Jaw Cultural Centre Prince Albert: July 6-10 at the John M. Cuelenaere Public Library Swift Current: July 27-31 at the Swift Current Branch Library

Children’s Writers’ Retreat When: July 27-31 Where: St. Peter’s Abbey, Muenster Do you write for children? Would you like 5 days this summer to just write? No workshops - just time to write and time to socialize with other children’s writers. Join us at St. Peter’s Abbey in Muenster, Saskatchewan July 27th to 31st. We arrive Monday July 27th after lunch and depart Friday, July 31st before lunch. Any adult who is writing for children is welcome. The cost is $331.15, which includes accommodation and meals. If you have any questions, or would like to register, please email Dianne Young at: dianne.young@sasktel.net Deadline for registration is Friday, July 3.

The Canadian Children’s Book Centre seeks Authors for Book Tours The Canadian Children’s Book Centre is looking for authors and/ or illustrators with new children’s books being released in the period from Spring 2015 to Spring 2016 who are interested in touring schools, libraries, bookstores and community centres outside of their home province during TD Canadian Children’s Book Week 2016. The next Book Week tour will run from May 7 to 14, 2016. Deadline for applications is: June 30 Authors and illustrators who are interested in touring should visit the Book Week website for complete application details.

2016 Mentorship Program 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. The program will run from January 1 to April 30, 2016. Deadline: Applications must be postmarked by September 25, 2015. 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. For detailed submission guidelines visit: skwriter.com

SWG Freelance Jun / Jul 2015

Member News Jane Munro Wins 2015 Griffin Poetry Prize for Blue Sonoma SWG member, Jane Munro has won the 2015 Griffin Poetry Prize for her work Blue Sonoma. Blue Sonoma focuses on the struggle Munro’s long-time partner has faced with Alzheimer’s. “Poems have to be transitive,” Munro says. “I think of poetry as architecture for the imagination. When someone else can receive a poem and move into that space and furnish it with her or his own memories, imagery and feelings, then that poem has another life. It’s great to feel – thanks to the Griffin – that the poems will be out there and more people will find them.” Each winner of the Griffin Poetry Prize receives $65,000, the world’s most generous poetry award. The 2015 Griffin Poetry Prize winners were announced at a gala held in Toronto’s Distillery District on June 4. This year marked the award’s 15th anniversary.

Rick Hillis Saskatchewan Memorial Service The date is set for the memorial service for Saskatchewan author Rick Hillis in Saltcoats, SK (Southeast of Yorkton). It will be a graveside service at the Saltcoats cemetery on July 11 at 2:00 pm. Please spread news of this to anyone you think might want to know. Hillis passed away unexpectedly on Oct. 8 in Beaumont, Texas where he was an associate professor at DePauw University. He was 58.

New Members The SWG would like to welcome: Brian Bowman Miranda Burski Ethan Butterfield Angeline Chia Roberta Cross Lucas Diewold Lesley Fell Lisa Goudy Erin Graas Kathleen Hamilton Raye Hendrickson Laurna Huberdeau Kim Kennett Bev Lundahl Kim Rathwell Carrie Stene Victoria Utman Jennifer Wallace

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15, 22, 29

5, 12, 19

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SWG Highlights 1

1. Bruce Rice, dee Hobsbawn-Smith, Her Honour the Honourable Vaughn Solomon Schofield, Lieutenant Governor of Saskatchewan, and Judith Krause during the 2015 Poetry Month readings held at Government House in Regina. Photo credit: SWG Staff 2. People mingle in Government House after the Poetry Month readings. Photo credit: SWG Staff. 3. A large crowd turned out for the launch of Windscript Volume 31, during the Cathedral Village Arts Festival on May 18. The event featured readings by eight of the contributors. Photo credit: SWG Staff. 4. Susan Harris reads from her latest book Alphabet on the Farm, during an author reading at Cote First Nations School in Kamsack, SK. Photo credit: Susan Harris. 5. Jeanne Alexander, Carle Steel, Marianna Topos, Judith Silverthorne, Tracy Hamon, Caelan Reilly, and Milena D탑ordeski, at the Saskatchewan Book Awards held in Regina. Photo courtesy: Shelley Banks

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Backbone The SWG Thanks Our Donors Patron (over $500) Felicia Daunt

Cassie Stocks Sarah Wells

Benefactors ($200-$499)

Contributors (up to $50)

Robert Calder Cathy Fenwick Lyn Goldman Louise Halfe Donald Kerr JoAnn McCaig

Supporters ($100-$199) Mary Harelkin Bishop Margaret Durant Miriam Kรถrner Katherine Lawrence Melanie McFarlane Lynda Monahan Deanna Reder David Richards Terry Toews Larry Warwaruk

Grain

Laurel Deedrick-Mayne Cheryl Kloppenburg Rea Tarvydas

Jeanette Dean Lilian Donahue Joan Eyolfson Cadham Jean Fahlman Regina Haensel Laurie Jarvis Tim Jones Barbara Langhorst Robert Leech Dianne Miller Ken Mitchell Wynne Nicholson Joan Olson Tony Peter Lloyd Ratzlaff Dorene Redshaw Sage Hill Writing Experience Tillen Bruce

Patricia Armstrong Fund Retreats

Karen Nye Reg Silvester

Kloppenburg Award

Cheryl & Henry Kloppenburg

Andrew Suknaski Writers Assistance Fund

Friends ($50-$99)

Sandra Birdsell Judith Krause Glen Sorestad

Angie Abdou Rita Bouvier Joanne Epp David Glaze Susan Harris Marjorie Megan Martin

The SWG Foundation Thanks These Donors SWG Foundation Anthony Bidulka Dr. Nola Buhr George Jeerakathil Glen Sorestad

SWGF Legacy Project Gloria Boerma Rodney Dickinson George Jeerakathil

Facilitated Retreat Susan Hogarth

Caroline Heath Memorial Fund

Judy McCrosky Bursary Fund Judy McCrosky James Romanow

Freelance

June / July 2015 Volume 45 Number 4

Publication Mail Agreement #40032919

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