One of the exercises I find helpful as well as fun is using picture or word prompts to create a story (sometimes a poem). I recently chose a made up place name as the genus of an idea. The name was Fiddletown. The exercise is to write something in a limited time frame, around 10 minutes. Some of these prompts have become full blown novels. This particular one is certainly one I made use at a later date. It sparked such a clear image for me.
I hope you like the beginnings of a story.
Hidden in the depths of the mountains, a small town flourishes. It is populated by beings of short stature with six fingers on each hand. Their ancestors escaped persecution from other people decades before. Safe now, they exist as hunters and gatherers existing in a solitary environment. Until, that is a couple of exploring mountaineers happen across the town.
This causes fear and consternation as well as an ethical question. Should they hide, locking everything up and hope the men think the town deserted, or run into the higher forest and wait them out or murder the two men? Whatever they do will alert the outside world…
Would you like to read the story? What do you think they decide?
I enjoyed a writing retreat from Friday to Monday in Crowsnest Pass. We watched the mountains slowly disappear as the snow arrived. Cozy in our cabin, with dogs, books and wine.
With a long weekend I managed to finish one book and read another. Here are my reviews.
The Lying Game by Ruth Ware
Fabulously written. Gripping to the end, with you guessing (incorrectly most of time!) who the guilty party was. A web of lies hold four friends captive for decades until a three word text brings them together. A seriously good read.
City of Dream by Suzanne Burkett
A great story of secrets, hidden memories and love. A very enjoyable read. Suzanne has created a wonderful world in this novel.
We all need to refresh our writing Muse, so this past Thanksgiving long weekend, I enjoyed two day road trips to Miquelon Lake Provincial Park. The first was on Saturday and then again on Monday. Both trips were a discovery of back roads and nature. It was chilly and breezy but glorious colours of the season were enjoyed.
There was plenty of wildfowl, a friendly squirrel, a couple of muskrats and evidence of a busy beaver too.
Although, I did some research for my detective book series and compiled a file folder of research, I did not write. We all need downtime.
However, I may write a short story on the unusual sight of a beaver lodge with a satellite dish! It’s too good not to.
Inspiration does come from anywhere and everywhere.
I trust those who celebrate it enjoyed a wonderful Thanksgiving. Here in Alberta we enjoyed a chilly and windy long weekend but every day without the ‘white stuff’ is a good day. So no complaining here.
We decided to enjoy nature this weekend and travelled on Saturday to Miquelon Lake Provincial Park. We walked the trail to the beach and kept to ourselves as there were families hosting outside Thanksgiving get togethers! Then , as always, took various back roads to explore.
The first trail off the beaten track was a game bird sanctuary and we found evidence of a busy beaver!
We also visited Kingman the Lutefisk capital of Alberta. Not knowing what lutefisk was we looked it up. A lutefisk is a Swedish delicacy. It is a dried stockfish (normally cod or ling) that has been brined in lye, soaked to remove the resulting caustic solution, and then steamed until it flakes. The end result looks and feels gelatinous. Traditionally, it is served with warm cream or butter sauce and enjoyed with copious amounts of beer. Not sure I will be sampling it though.
I completed a project on Sunday, I have been meaning to do. Updating the bathroom cabinet. I am pleased with the soft green and new handles – gone are the drab wood doors.
Having enjoyed Miquelon Lake so much on Saturday, we returned to walk around the lake. A brisk 45 minute walk but so worth it. We encountered a squirrel who calmly sat watching us and the dogs and never ran off.
Then it was homeward bound and an unusual sight. A beaver lodger with its own satellite dish! I kid you not. I need to write a little story about this. Which channels do you think they watch?
Not until I was a teenager when I wrote my first complete novel (“Caged-In World”—which later served as a very rough draft for my first published novel, “Darwin’s Paradox”). My first published work was my non-fiction article “Environmental Citizenship” which appeared in Shared Vision Magazine in 1995. My first fiction work was a short story entitled “Arc of Time”, which was published in Armchair Aesthete in 2002. However, I told stories long before I wrote them and long before any of them was published. I told stories in the form of cartoons. Since I was a small child, I wanted to be a cartoonist and write graphic novels (back then I knew them as comics). I created several strips with crazy characters that I drew, blending my love for drawing with my love for storytelling.
What made you decide on science fiction as a genre?
That goes back to my love for comics. I wasn’t much of a reader as a kid. While my older brother and sister devoured The Hardy Boys and Nancy Drew series, I secreted myself in the back corner of Williams General store and read Superman and Superboy, Supergirl, Batman, The Fantastic Four, Flash, Magnus Robot Fighter and Green Lantern. I was obviously enamoured with the fantastic. When I earnestly started to read things other than comics, I came across the SF classics: Huxley, Orwell, Heinlein, Clarke, Silverberg and Asimov to name a few. Bradbury sent me over the moon and his “Martian Chronicles” made me cry. I wanted to write like him and move readers like he’d done with me.
The reason I continue to write in this genre is because of its ability to encompass the creative imagination and application of metaphor to story. Given its wide range of possibilities in creating a believable reality of the fantastic, science fiction provides a compelling platform for metaphoric storytelling. Possibilities for powerful archetypes abound. Where else can you make water an actual character?
Was the ecological aspect of your stories a gradual realization or your primary objective?
My primary objective was always to tell a compelling and meaningful story and hopefully to move readers. The ecological aspects slid in unannounced like a shadow character. It made sense: the environment and how we treat it (and ourselves by extension) has always been something important to me since I was a child. So, while I was writing science fiction, it was also eco-fiction. When the brand became more known, I realised that this was the kind of science fiction I was writing most of the time.
Do you prefer writing novels or short stories?
I love writing both forms. Each form challenges in a different way and each lends itself to a different kind of story. Since I was a child, I had wanted to write novels. But as I got older and became familiar with the publishing industry, I learned that one of the best ways to get exposure and credentials to successfully publish a first novel was to get known as a published short story writer. So, I started writing short stories. I didn’t write them very well at first; they read like novel-wannabies. And that’s exactly the feedback I got from the magazines I submitted to. Then I figured it all out and I started to sell my short stories. Lots of them. And reprints too. They’ve even won some awards! When I published my first novel in 2007, I didn’t stop writing short. While my love for the novel drives my writing (I have published nine novels so far), I love the short form for its challenges and need for discipline and its powerful platform of “short.” I am particularly proud of my two latest shorts: “Alien Landscape” in The Group of Seven Reimagined (2019); and “Out of the Silence” in subTerrain Magazine, Issue 85 (2020).
Does your teaching aid your writing or the other way around?
Both. I teach writing skills to scientists, medical students and engineers. I also teach creatives who are learning to write long and short fiction. What I find is that my writing and publishing experiences—both the successes and the failures—help me share more practical lessons with my students. Experiences with my students also help my writing. In fact, my latest non-fiction book—the third book of my Alien Guidebook Series on place as character (“The Ecology of Story: World as Character”)—came largely from my experiences with my students.
Do you prefer writing fiction or non-fiction?
I love both forms for different reasons. If I had to pick one from passion, I’d pick fiction and its expression of my imagination; if I had to pick one from utility and general satisfaction, I’d pick non-fiction for how it responds to and communicates reality. Having said that, they are more like each other than many readers realize. Both tell stories. Both use compelling narrative with a tease or hook and final conclusion. Both require research. Both must create a believable “reality” and both dispense truth—in non-fiction truth is literal and in fiction it is metaphoric. But then there are hybrids out there such as creative non-fiction and diaries or journals. And finally my latest piece of fiction—“A Diary in the Age of Water”—that reports on real events and real people.
Can you tell us about your newest book “A Diary in the Age of Water”?
The book is essentially a journey of four generations of women, who have a unique relationship with water, during climate change and water shortage. The book spans over forty years (from the 2020s to the 2060s) and into the far future, mostly through the diary of a limnologist (someone who studies freshwater), which is found by a future water-being. During the diarist’s lifetime, all things to do with water are overseen and controlled by the international giant water utility CanadaCorp—with powers to arrest and detain anyone. This is a world in which China owns America and America, in turn, owns Canada. The limnologist witnesses and suffers through severe water taxes and imposed restrictions, dark intrigue through neighbourhood water betrayals, corporate spying and espionage, and repression of her scientific freedoms. Some people die. Others disappear…
How did you come up with the concept for the book?
It started with a short story I was invited to write in 2015 about water and politics in Canada. I had long been thinking of potential ironies in Canada’s water-rich heritage. The premise I wanted to explore was the irony of people in a water-rich nation experiencing water scarcity: living under a government-imposed daily water quota of 5 litres as water bottling and utility companies took it all. I named the story “The Way of Water.” It was about a young woman (Hilda) in near-future Toronto who has run out of water credits for the public wTap; by this time houses no longer have potable water and their water taps have been cemented shut; the only way to get water is through the public wTaps—at great cost. She’s standing two metres from water—in a line of people waiting to use the tap—and dying of thirst.
“The Way of Water” captures a vision that explores the nuances of corporate and government corruption and deceit together with global resource warfare. In this near-future, Canada is mined of all its water by thirsty Chinese and US multinationals—leaving nothing for the Canadians. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation that prevent rain clouds from going anywhere north of the Canada-US border. If you’re wondering if this is possible, it’s already happening in China and surrounding countries.
Is there anything else you would like to mention or advise your readers?
I’m often also asked why I chose to write the fiction book as mostly a diary. I was writing about both the far and the near future and much of it was based—like Margaret Atwood and her books—on real events and even real people. I wanted personal relevance to what was going on, particularly with climate change. I also wanted to achieve a gritty realism of “the mundane” and a diary felt right. Lynna—the diarist—is also a reclusive inexpressive character, so I thought a personal diary would help bring out her thoughts and feelings more. There’s nothing like eves-dropping to make the mundane exciting. The diary-aspect of the book characterizes it as “mundane science fiction” by presenting an “ordinary” setting for characters to play out. The tension arises more from insidious cumulative events and circumstances that slowly grow into something incendiary.
Where can readers find your work?
In the usual places: in the local libraries or book stores, on Amazon, Kobo, Barnes & Noble and through the publisher. You can also go to my writing / coaching website www.ninamunteanu.me where I keep an updated publication list and a bookstore window to other bookselling outlets. Most of my books are available in several formats: print, ebook, audiobook.
Nina Munteanu is a Canadian ecologist / limnologist and award-winning novelist and short story writer. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Nina’s non-fiction book “Water Is…” by Pixl Press was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. “A Diary in the Age of Water” is her thirteenth book.
When I was struggling to find a concept for NaNoWriMo this year, out of the blue an idea came to mind. Now this, in itself, is not unusual because we all know it happens. However, it was not only the genre that surprised me but the fact the idea formulated as a three book series!
The genre is a detective/crime, something I have not tackled before. Although, I have written in various genres, it is normal for the story to come first and then the genre becomes apparent as I write. This is the complete opposite and makes it an exciting prospect. The idea formulated around three main characters and a common adversary across three books.
The other surprise was that I easily began planning each book – another first for me the self proclaimed free flow writer. I am not sure why this change in technique came about but it will certainly play a big part in this new project.
Whether we plan in detail or go with the flow, there is no right or wrong way to write – we all do it differently, which results in the uniqueness of our narratives.