I have once again taken advantage of our local Writer in Residence program hosted by my library. Last week, I attended a virtual presentation entitled Writing Three Dimensional Characters That Sing. It was a highly informational session. As writers we are always learning and taking the time to learn is essential in improving our writing craft.
There was an extra bonus to this year’s writer in residence as she is an acquaintance and a great writer and writing community advocate. Rayanne Haines is the author of seven books, including three poetry collections. Her artistic practice focuses on projects that look to redeem and empower women’s narratives. In addition to her writing, teaching, and festival work, she also produces/curates intersectional feminist poetry films and panels with authors across Canada. Her current work focuses on mental health and intergenerational female trauma.
Having the opportunity to access a writing mentor and their free services through this program enables local writers to gain insight into their work. The program services include individual manuscript consultations, public readings and talks, information on the publishing process and networking with the writing community.
Do you have a similar program where you live?
What devices, programs and events do you use to learn your craft?
You have experienced a multitude of jobs – have these experiences given you insights for the characters in your stories, within your book Rage and other writing?
Yes and no.
Yes in that I have based characters on past jobs for some of my writing. For example, two stories which appear in Rage are about archaeologists (“Deposition” and “The Edmore Snyders”) and I did work as a salvage archaeologist for about six years. Consequently, both of these stories carry elements which are very much true to life.
However, most of my stories are not based on past employment. To keep looking at the stories in Rage, I’ve never been a mountain climber, a priest, or a teenage girl (and probably never will be). To look at some of my other past jobs, I’ve never published a story about writers, software developers, or graphic designers–in fact, I find most of my past employment doesn’t excite me enough to craft share-worthy fiction from it. It’s the experiences I’ve had (which may or may not have come tangentially from those jobs) which inspire me, shock me, give me joy, disgust me, scare me, or piss me off so much I find myself mining for my fiction.
I’ll wrap this up by saying I am a strong proponent of thorough research and writers getting their facts as correct as possible. If I can use a past job to get my facts right, I’ll do it. If I need to interview people who’ve experienced the things I’m writing about, I’ll talk to them. I find story elements which don’t ring true to life (or at least my experience of it) can bring me out of a story faster than anything else–and I try very hard to never do that to my readers.
Your path into writing was the result of an unusual message, please tell us about it and if now you are convinced or otherwise to the validity of that message?
I’m not sure if the message you’re referring to was actually my path into writing (I’ve been making stuff up for almost as long as I can remember), but that message was most certainly the catalyst which finally got my ass in gear and helped me focus on my dream of becoming an author.
The message was this: you’re on a path for destruction and unless you change your ways, you are going to die. The deliverer of that message was a tarot reader I’d met at a party in New Orleans, and when she told me this, it scared the shit out of me. At the time I was a rather unhappy software developer and I chose to interpret her message to mean I should abandon my career in information technology and give writing a real, honest, both-feet-in effort (I also remember hoping this was not a medical thing).
As a result, I completely refocused my life. I enrolled in some continuing education classes in creative writing and for the first time in a long while felt truly happy (like I was where I was supposed to be). My instructors were encouraging, my classmates were invested, and everyone took the writing thing seriously. I learned a lot. When I got enough decent material together for a portfolio, I applied to Simon Fraser University’s year-long program, The Writer’s Studio. Coincidentally enough, that was the time I got downsized from my software development job, so I was given the luxury of being able to focus on my studies full time. At SFU, I got involved in the local literary community, met many interesting people, and learned even more. Then, I took my biggest leap and applied to the Master of Fine Arts in Creative Writing program at the University of British Columbia. I’ve got to say when I got my acceptance letter from UBC, I did the biggest happy dance of my life. UBC was a fantastic experience for me, where I met even more interesting people, got involved in teaching creative writing, and learned an awful lot more.
In the end, whether or not I’m convinced of the validity of that message doesn’t really matter–I acted on that message, destroyed my old life, and created a new one I’m very happy with.
In teaching creative writing is it an advantage or a disadvantage to your own creativity?
Advantageous in that I get to meet many people with creative ideas so very different from my own. As a writer I don’t get out much, and talking to other writers about stories and other creative things is something I both enjoy and constantly learn from.
The downside for my creativity I experience from teaching is that I let it pull me away from my writing time. When I’m teaching a class, I feel it’s only fair to give my students my full attention, so whether I’m critiquing homework assignments or preparing lesson plans, I find I’m not writing as much of my own material as I’d like (in fact, I find I don’t write at all while I’ve got a course in session).
What writing process is the most comfortable for you – pantser or planner?
I’d like to be able to say I’m a planner, but that’s not entirely the truth. While I outline meticulously (not only do I take comfort in an outline, I’ve also discovered outlining saves me from having to write at least a full draft or two), I almost always deviate from my outline and end up pantsing to some degree as I go along. Now that could mean I’m further refining within the scope of my outline, but it could also mean I’ve got to throw away my current outline when I come up with something better (which happens often). As I’ve discovered my own writing process, I’ve realized my first drafts don’t look very much like my second drafts, and my final drafts are very different from what I first envisioned for my story (that’s not to say I only write three drafts–my current work in progress is on draft 10.7). So, um, yeah, I’m a bit of a hybrid.
How do you find inspiration and time to write?
As for time, I’m very lucky in that aside from the occasional teaching gig, all I do professionally is write (I’m also very lucky to have an extremely patient and generously supportive wife). As for inspiration, that’s been a bit trickier for me these past two years (as I suspect it has for a lot of people). I usually find my inspiration (whether it’s from things which shock me, give me joy, disgust me, scare me, or piss me off) from meeting new people, going to new places, and doing new things. As those stimuli have been somewhat curtailed lately, being inspired has become a bit of a challenge. I’m currently relying on memory and my outlines to carry me through my work.
What determines which genre/style your write in? (Short story, play, or poetry)
I haven’t been writing for the stage lately, and I’m not doing much short fiction or poetry, either. What I’ve been focusing on is longer fiction (the word count of the latest complete draft of my current WIP is about 120,000 words).
That being said, I did take a break from my novel and publish a short story in Speculative North last year. It’s about a werewolf desperately trying to keep her shit together while contending with increasing provocations from sources which have no regard for her as a person whatsoever (by the way, there should be an adult content warning if anyone decides they want to read that story–which anyone can for free by following the Free Downloads link on my website [http://www.johnmavin.com/downloads.html]). I knew that story would be short (it’s only about 7,900 words, admittedly long for a short story) as what I wanted to say wouldn’t have filled a novel.
So I guess that’s my answer–it’s what I want to say about a given idea that determines which genre or style I’ll use. My current WIP is too big and has too much world building to be effective in short formats so I’ve gone long. For my stage plays, it was usually the effect on a live audience I was going for (for example, my one-act play Daguerreotype–also available on my Free Downloads page–is an intentionally uncomfortable experience which is different for each person in the audience, depending on when they figure out what is really going on). For my poetry, if what I’m looking for is the emotional equivalent of a quick punch, that’s the genre I’ll choose.
You offer writing courses – what made you decide to do this?
I like to share and I like to teach. Back when I was taking my MFA, my grad advisor looked at my proposed schedule and called me in for a meeting. She said I’d signed up for too many courses and had to limit my choices–specifically, she asked me to choose between a class on teaching creative writing and a class on journal publication. While I was disappointed I couldn’t take both, making that choice was easy (I chose the teaching class).
Do you have a current WIP? Can you tell us about it?
I’m currently working on (and have been for far too long) a dark fantasy trilogy. I’m not yet at the stage where I can publicly say much about it, but I will say it’s set in a secondary world and deals with belief, deceit, and what happens to the soul after death. Oh, and yeah, the cast is very much filled with morally questionable characters (as with most of my writing, no one is truly good and no one is truly evil–they’re all hybrids, which I find true to life, or at least my experience of it).
How important do you feel creativity is – no matter the medium?
Very, very important. I believe humans have an innate need to create in almost all situations. Whether that creativity is expressed through writing short stories, composing music, painting pictures, solving problems, completing work, or even getting dressed is immaterial–everyone is creative. I realize I’m not expressing this very well, but I do know someone who can: his name is Jim Jackson and he has a podcast called Radio Creative, in which he looks at ways to expand people’s natural creativity and tap into it when they want to in their life, work and art. Full disclosure–Jim had me on as a guest a while back–but he’s also interviewed chefs, business consultants, and lawyers besides editors and writers). I recommend giving Radio Creative a listen. [https://anchor.fm/radiocreative/]
Where can readers find you?
The best place to find me online is my website, http://www.johnmavin.com, where I’ve got links to both my Facebook page [www.facebook.com/author.john.mavin] as well as my Goodreads profile [www.goodreads.com/author/show/16623050.John_Mavin].
Do you have a message for your readers?
Um, you mean beyond “hello, thanks for reading my stuff, please read more of my stuff, and I’d really appreciate it if you gave my stuff an honest review on Goodreads and/or Amazon”?
Okay, for something much less self-serving, how about this…I came across a meme on Facebook the other day which struck me as apropos. It went something like this:
List of Books to Read Before You Die
1. Any book you want.
2. Don’t read books you don’t want to read.
3. That’s it. The meme goes on, but at its core, I really liked its message
A chilling collection of stories unraveling the consequences of longing, broken trust, and deceit.
John Mavin is the author of the dark literary collection Rage who’s taught creative writing at Capilano University, Simon Fraser University, the University of British Columbia, with New Shoots (through the Vancouver School Board), and at the Learning Exchange in Vancouver’s Downtown Eastside. He’s a graduate of SFU’s The Writer’s Studio and also holds an MFA in Creative Writing from UBC. A past nominee for both the Aurora Award and the Journey Prize, his work has been translated, studied, and published internationally. He invites you to visit him online at http://www.johnmavin.com or follow him on Facebook at http://www.facebook.com/author.john.mavin.
1. What inspired you to write books for children to aid with reading and writing?
For about 15 years, I worked as a library programmer, so every week I had two or three programs for preschoolers. My favourite group was the 5-6-year-olds, who were just learning to read. They have such active imaginations and often like to see themselves as players in the story. I loved working with them, finding great children’s books, and then reading the stories aloud to them. After a few years, it felt very natural to start writing for this age group. Also, a writer-friend Alison Lohans had an opportunity to give a workshop in writing for children. I took that, and it put me on the path. Eventually, I got my MFA in Creative Writing at the University of British Columbia with a major in writing for children and young adults.
2. Do you think reading is the gateway to learning and life skills?
Yes, absolutely. It’s also a lot of fun!
3. How does the construction of the content aid understanding in children?
I’ve been lucky to work with several top-notch traditional publishers on the books I’ve written for children and middle-grade readers. I don’t self-publish so I am not usually involved in the construction of the book, but a writer can always help by inspiring the editors with punchy writing and ideas. As a journalist, I had always suggested backgrounders and sidebars, or short related articles, so I was on the watch for that. And I’ve noticed that surrounding a non-fiction narrative with fact-boxes and short in-set articles can really grab the attention of readers. When I was writing Dragonflies are Amazing, for instance, the editor asked me for some “fun facts” to create a fact-box. I put together about 20 facts, and worked on them so they had an engaging style to activate a kids’ imagination. The editor ended up putting the facts in a graphic format that looks like dragonflies flying around the page. You actually have to turn the book around to read them. Very cool! She also put the images in puzzle pieces. The overall effect of that book is as amazing as the dragonflies, and it really works to attract reluctant readers.
4. Where can schools access your books?
Schools order the children’s books directly from the publishers, but I also distribute some of them locally to schools and libraries in my home town and area during readings and workshops. My young adult series Last of the Gifted is available everywhere, from Amazon to local independent bookstores, through publisher Wood Dragon Books.
5. Did your Welsh heritage influence your stories?
My Welsh heritage influences my young adult series, Last of the Gifted. My grandfather was had been born in Wales and I knew he was a Welsh speaker. All of my grandparents had died before I was born. When I was a kid, my friends had grandparents but not me, so I guess I became a little obsessed by them. But my dad died young, and it was hard finding out much about my dad’s parents. Since I was a journalist, I wanted to get into travel writing, so I planned a trip to Wales to do double duty and find out more about my own heritage at the same time. I had rented a cottage on a sheep farm in north Wales, so one day I went to see Dolwyddelan, a castle built by the last true Welsh princes. Inside, there were placards showing the history, and how losing a war in 1282 caused them to lose their language and their way of life. I started thinking about what it would be like to actually live through something like that, and that led to writing about it. It’s been my “heart” project ever since.
6. How did your magical characters evolve from idea to story?
I actually started out by free writing the scenes in Spirit Sight. I had covered an article on a falconer and I was very intrigued by his falcon demonstrations. One day, while I was doing research on North Wales, I started wondering what it would be like to see through the eyes of a bird. I started free writing and the opening scene came together. I’ve revised and refined it since, but that’s still the opening of the book. From there, I started reading about Welsh legends and myths, and my magical world evolved from that.
7. Is imagination important for children?
It’s important for everyone. There are a lot of ways to use and grow our imaginations, but reading is definitely one of the best ways. And writing helps, too!
8. Are there other subjects/topics you want to write about?
Yes, lots. I have a couple of contemporary fantasy novels on the go as well, as well as short stories. My writing is speculative fiction with some connection to ghosts or the past influencing the present. I still write articles for magazines as well, and that inspires me in different ways.
9. Where is your favorite place to write and why?
I write at my kitchen table, actually. I have a perfectly good office and I fully intend to use it, but the kitchen has better light and a lovely window looking out at the park across the street. I always wrote in the kitchen when my kids were young, and that tends to be where I end up.
10. Do you have upcoming projects? Can you talk about them?
I have a lot of projects on the go. I’m working on one more book now in the Last of the Gifted series, and I have started another related series. Last NaNoWriMo, I wrote a novel from the same time but unrelated to the series, more medieval romance, just for fun. I’d like to do something more with that, too. And there are the contemporary novels as well.
11. How can readers find you?
My website is the best place, and I’m on social media too. Here are some links:
Marie Powell Bio:Marie Powell’s castle-hopping adventures across North Wales to explore her family roots resulted in her award-winning historical fantasy series Last of the Gifted. The series includes two books to date, Spirit Sight and Water Sight (participation made possible through Creative Saskatchewan’s Book Publishing Production Grant Program). Marie is the author of more than 40 children’s books with such publishers as Scholastic Education and Amicus, along with award-winning short stories and poetry appearing in such literary magazines as Room, subTerrain, and Sunlight Press. Among other degrees, she holds a Master of Fine Arts (MFA) in Creative Writing from UBC. Marie lives on Treaty 4 land in Regina, Saskatchewan. Find her at mariepowell.ca
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.
I’m retired now, but my first career was as an elementary school teacher.
One year I had a boy placed in my class who didn’t like me and unfortunately, the feeling was mutual.
Believing the boy would be much happier with a different teacher, I suggested to administration that they place him in a different class. The Assistant Principal informed me that I’d be good for the boy and left him in my class.
As the year progressed, we grew to like each other very much.
In June, when all the other kids had left for summer holidays, the boy stayed at his desk and he said point blank, “I didn’t like you at the beginning of the year”.
(Don’t you love how kids get right to the point? I love their honesty.)
I thought a moment and decided to be honest with him too. I shared that he wasn’t my favorite student at the beginning of the year, either.
We both accepted the idea that we could change our minds. We had a newfound mutual respect and appreciation.
Over the years, I never forgot that boy. I decided I needed to write a story about a woman who didn’t want a particular child. I wanted to show the love, understanding and self-confidence that grew in both characters as they got to know and love each other.
How did you come up with the title?
The title for the trilogy is Bringing Jamie Home. I got this idea when the ten-year-old boy gets lost in Jamie’s Choice, the first book in the trilogy. The hero tells the heroine that they will find the child and bring him home. There! I had it—the title for the book.
At this time, I didn’t know that the one book would lead into a trilogy.
When I finished book one, I knew that one character appeared to be a “piece of work”, as one reviewer called him. I had to figure out why the character was so cynical. This lead to a mystery that had to be solved in the second and third books. All three books work with the idea of “Bringing Jamie Home”.
Is there a message in your novel that you want readers to grasp?
As I mentioned above, I wanted to show the love, understanding and self-confidence that grew in both characters as they got to know and love each other.
How much of the book is realistic?
When I describe the mountains and the snow storm in Jamie’s Choice, I’ve actually been on slippery roads and in snow storms in the mountains. I know how quickly the weather can change.
Are your characters based on someone you know, or events in your own life?
Where can readers find you on social media and do you have a blog?
I don’t have a blog, but I’d love people to visit me at my website: SherileReilly.com
Do you have plans or ideas for your next book? Is it a sequel or a stand alone?
The Bringing Jamie Home books are a trilogy. After them, I wrote a Victorian Paranormal Romance called The Curse of the Lord of Darkness. It’s a stand-alone book. I’m now working on a series which will also be Victorian Paranormal Romances. My books are currently available in print and as eBooks from Amazon.com.
Of the characters you have created or envisioned, which is your favorite & why?
My favorite characters are always in the story I’m working on. I’m deeply involved with the characters—just like when I’m reading a book.
Do you favor one type of genre or do you dabble in more than one?
I write Clean, Contemporary Romance and Victorian, Paranormal Romance.
Do you plan your stories, or are you a seat of the pants style writer?
I love planning my stories. I get ideas and I jot them down on paper. At this point I’m just gathering ideas. I have lots of pieces of info about the characters and the plot.
Next, I think about the order of the scenes. I like to see the story laid out in front of me, so I put the ideas on cards or post-it-notes and arrange them on a two by five foot board. From here, I’m able to see what the general layout of my story will be. Of course there are many changes to this outline, but I really like knowing where the story is going and if the characters are changing and growing.
What is your best marketing tip?
I don’t know about a marketing tip, but I think authors always have to keep learning the craft–listen to podcasts, read blogs and educate yourself. Join a writing group if there is one in your area. Write the best book that you can and then get it edited by a professional.
Do you find social media a great tool or a hindrance?
Social media is a very big topic and I’m learning what might work best for me.
What do you enjoy most about writing?
I love planning and putting in lots of conflict. Creating characters is exciting. In my Victorian stories I’m always learning more about that time in history. My Victorian stories are set in the United States and it’s interesting to learn about the social restrictions on women in that era.
What genre are you currently reading?
I read across a wide variety of genres. I recently finished a detective novel. Before that I read a Victorian mystery/romance. I can’t keep up with all the books I’d like to read.
Do you read for pleasure or research or both?
I read for both.
Who is your best supporter/mentor/encourager?
I’ve had tremendous support from my husband who drives me to locations so I get a feeling for the setting.
When she was alive, I also had tremendous support from my mother. She’d have been so pleased with the publication of the Bringing Jamie Home Trilogy.
My sister patiently listens to all my new ideas and offers suggestions.
My friends have helped me so much with my technology problems, blurbs, plots and many other facets of the whole writing process. I also belong to two writing groups that offer excellent workshops.
Best of all, my writer friends are fun and great to hang around with!
Where is your favorite writing space?
Lots of people think they’d like to write on a balcony with a beautiful view of the ocean and the sound of the waves. Rather than encouraging me to write, I’d find this a huge distraction. I’d want to be walking along the beach or visiting the local tourist sights.
I’m quite happy being in a room in the basement, surrounded by books and other writing materials that I need.
Do you belong to a writing group? If so which one?
I belong to the Alberta Romance Writers’ Association and also the Calgary Chapter of the Romance Writers of America. The groups are called ARWA and CaRWA. Both are terrific for teaching people about writing and industry. Of course, there’s a fantastic group of fellow writers.
If you could live anywhere in the world – where would it be?
I love living right where I am. I love the four seasons and the wonderful changes that each brings.
Do you nibble as you write? If so what’s your favorite snack food?
When I’m writing, I don’t nibble. If I brought food into the computer room, I’d constantly keep eating and get nothing done. However, I do nibble while I watch TV!
Author, artist, and retired teacher, Sherile Reilly has jet boated in New Zealand, climbed the Temple of a Thousand Columns at Chichen Itza, ballooned over the table lands of Northern Australia, and poised for a photographer among the columns of the Parthenon in Athens, Greece.
As a teacher, she read to children and as a world traveler, she collected stories and soon began to create her own, first for her students, and then for adults.
Not tied to any one genre, Sherile writes Contemporary Romance, Women’s Fiction and Paranormal Romance. Most recently, she published a trilogy, Bringing Jamie Home, and The Curse of the Lord of Darkness.