I am continuing with my 2021 goals and have submitted to magazines, contests and anthologies this year. It is not only a learning curve, but also a way to expand my writing skills. Every writing experience increases our skill set and knowledge. As writers we are always learning. (or should be!)
In the last couple of weeks, I have been accepted to be part of an anthology 25 Miles From Here, which will be published in September. My short story A New Home will be included.
I also have three articles published (or scheduled) for Opal Writers Magazine and website, with another pending. These articles allow me to write non-fiction and also share my knowledge with the writing community.
I was also honoured to assist in the promotion of a new movie, Back Home Again. It covers the the wildfire evacuation of Fort McMurray and the communities resilience.
And I was also delighted to win a book giveaway by Densie Webb. A lovely novel arrived in my mailbox, which will be added to my TBR pile.
In preparation for my presentations/panel at the When Words Collide conference, I have invested in a headphone/microphone set. I trialed it as I hosted the monthly Writers Circle on Tuesday evening, it works well. It is more professional and cuts out a lot of background noise too.
My latest book news is four of my books (The Twesome Loop, The Commodore’s Gift, The Rython Kingdom and Rython Legacy) are all available from Daisy Chain Book Co bookstore, Edmonton.
I would love to hear about your writing related accomplishments so far this year?
Without the luxury of travel during COVID, regular writing retreats have been cancelled, but it is not all bad news. We can create our own mini retreat at home. There will be some necessary arrangements to be made, which relate to your personal circumstances but it can be done. If you have a full household ask if it is possible for your partner to take your children out for an extended walk or to a play ground or even outside yard activities? Set times that you want to write without interruptions. This may be early morning or late evening, a time of day that you can set aside for writing. If staying in the home is too difficult, maybe drive to a secluded spot and write in a notebook to type up later. There is always somewhere you can find to accommodate writing time.
The length of time you have for your retreat will, of course, depend on what is possible for you. You may have two hours a day over a couple of days or a day or two. Before creating your retreat think about the following:
Why do you need a retreat? This might seem like a silly question but take the time to decide if the retreat has a direct purpose for your writing.
What is your goal? Again ask yourself, what can this retreat help you accomplish. Is it to begin or finish a project, a full edit, or a final read through?
Once you have identified these two points, you can plan by initially setting targets with measurable realistic goals, don’t overwhelm yourself. Depending on the time allotted for your retreat, create a daily writing plan. What are your objectives for each day? This can be writing or editing a certain number of pages, sequencing chapter content or revising scenes.
It is important to eliminate distractions as much as possible allowing you to concentrate. This should include switching off your cell phone, setting specific times for social media interactions, or even setting a timer!
The more you organize before hand the better your experience will be. Let’s look at some essentials.
Plan Your Retreat Time– use your preference – a simple sheet with goals for each day/hour, or a whiteboard with retreat objectives or notes in a day planner.
Tools – these can include a notebook, laptop, post-its, record cards, mood board, a print out of your manuscript, reference books or research sites bookmarked on your search engine. Everything that you need to successfully accomplish your goal.
Snacks& Water– the brain needs to be fed and watered as you delve into your project. Have plenty of water and easy nibbles handy.
Space – designate a space where you will work, where you and your tools will not be disturbed.
Rewards – how will you reward yourself for accomplishing your set goals? Decide how, it can be going for a walk, or thirty minutes on social media, or relaxing reading a book.
Remember this time is ultimately for you and your writing, a time to invest in your craft.
I’d love to hear your experiences with a home writing retreat.How did you achieve it?
A lot of us are in the midst of writing new (or completing old) projects for the challenging NaNoWriMo month. Some find it too challenging, others a great way to write to a deadline, while others utilize the month for beginning or finishing a project. No matter why you participate, the structure gives us all a commitment to write at least 1667 words a day.
Obviously, there are other commitments – work, home & family – but making time to write is a bonus. We have the ‘excuse’ that we must write in order to achieve the goal of 50,000 words. Once our family understands your need for this writing time, why not carry it on after November?
With a full month of specified ‘writing time’ becoming the ‘norm’ for those around you, why drop it after November. If the family can accommodate you for one month, why not twelve?
Writing is our passion. We need to write. So make the time to do it. Wake up earlier, go to bed later, write while waiting for children’s activities to finish or write a scene in a small notebook in your purse waiting at appointments. There are always opportunities to allow your Muse to create. You may have to be creative in how we work it out, but it is worth investing in your writing time. It is a writing commitment.
We all know our planet is slowly dying and in consequence us! I read an incredible novel by Nina Munteanu, which uses the diary of a future personality to highlight the nearsightedness of the previous decades of politics and big business. Yes, I understand it may seem like a heavy topic, however, the narrative carries you through an incredible journey, through the eyes of the protagonist.
The rise in books covering climate change has increased in the last decade or so. They have been a positive eco-political influence on their readers allowing them to imagine potential climate futures. This in turn, persuades those readers of the gravity and urgency of climate change.
Through research, it has been discovered that the most popular readers of these books are younger, more liberal, and more concerned about climate change than nonreaders of climate fiction. It is our youth, who will have to live with today’s decisions after all.
Please consider reading about climate change, whether with non-fiction or non-fiction books. We can make a difference.
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.