It is that time of year again, I have been working with the Board members of my writing group to finalize details for our annual writing conference. As I am hosting an online session about blogging, I revised my presentation notes in readiness. The countdown is on!
I would ask any writer that is interested in gaining new skills, honing their craft or wants to expand their network to attend this remarkable conference. The Writers Foundation of Strathcona County’s Conference on 27th March – The Art of Writing is covering a wide range of writing skills. https://www.wfscsherwoodpark.com/annual-writers-conference
We will also be live on our Facebook page if you want to drop by anytime between 8:30 am – 5:00 pm MST https://www.facebook.com/wfscsherwoodpark There is the opportunity to promote your book(s) as well throughout the day so click the link to submit.
Apart from continuing to write my current WIP; book one of the The Delphic Murders trilogy, I have been thinking about the book covers. Each book needs to reflect the story within it but also tie-in to the other two books. After a conversation, an idea has been bouncing around in my head but on Tuesday a much better idea for the imagery came out of nowhere. I am now discussing the possibilities with my cover artist. This is such an exciting stage of any the book creation.
As always, working with any artist, it is paramount to have good communication and be able to describe our ‘vision’ for the illustrations. We are lucky to have the power of technology to find samples and suggested imagery. I have been lucky to have worked with several artists to create artwork that reflects my stories.
With any cover we need to ask ourselves three main questions:
Does the cover reflect the story?
Is it eye catching?
Does it reflect the genre?
How did you decide on your book (s) cover?
Did you use your own photographs, commission or draw you own drawings or manipulate images some other way?
Interestingly, I searched best book covers for 2020 and there are several lists to look through. All of them have different covers, so it is really a matter of person preference. A cover might attract one reader but not another. It is a balancing act, for sure.
Do you have a favorite book cover? Why not share one?
I was honoured to be part of this virtual writing conference this past weekend. It was certainly jammed packed with panelists from all avenues of the writing community, and I made some great connections and learned a lot. I was also a panelist, which was such a fun thing to do. My first panel was on Friday with Mandy Michelle, Sarah Graham, and Melinda Curtis. We were discussing the romance genre and how it has transformed in line with societal changes since it’s conception, but also the expectation of the genre readers for the story format. Then on Saturday, I partnered with my publisher, Dream Write Publishing’s owner, Linda Pedley to discuss the business of getting a novel published and the extra writing required. This includes an author bio and professional photo, a blurb, a summary, a synopsis etc. etc. These ‘extra’s’ are not always considered by authors and the information proved to be useful.
Generally, it’s an energizer while I’m writing; however, when plot problems or new ideas keep me up all night when I need to be teaching in my high school class room bright and early, it can lead to exhaustion! When I can write all night, during summer and holidays I’m in a constant state of creative euphoria
2. Did you ever consider writing under a pseudonym?
Yes. I think if I decide to do something with that Romance manuscript in my drawer I would publish under a pseudonym to establish a separate audience for that genre.
3. What other authors are you friends with, and how do they help you become a better writer?
From regular attendance at Surrey International Writing Conference (SiWC), I have developed a wide social network of writers. I probably interact the most with Carol Mason, Eileen Cook, CC Humphreys, Tyner Gillies, Sylvia Taylor, and Diana Gabaldon. From workshops, blue pencils, social time at events, and then continued social media or email contact through the years, I’ve benefitted from the experiences they share and the feedback they give. Diana in particular, has helped with a historical novel I’ve been working on and been very encouraging of other projects, including providing a cover blurb for Murdering Mr Edwards. When someone who’s sold millions of books is willing to put her name behind your project, it’s a profound gift.
I’m presently doing a mentorship with Giller nominated , local author Gail Anderson-Dargatz on a literary novel project. There is so much to learn, and it’s wonderful to know people who are willing to share their knowledge.
When you become a regular at a conference, you have a built in support network. I love presenting at conferences, too, which is great way to give back. I’ve enjoyed meeting beginning writers and helping then bring their projects to life. At SiWC I also met Leena Niemela who’s an awesome Finnish Canadian poet. I’ve stayed at her place on Vancouver Island to play in poetry together. It’s wonderful to have friends who understand about the voices in your head.
4. Do you want each book to stand alone, or are you trying to build a body of work with connections between each book?
I seem to be writing many distinct things at this point. I have published poetry books; Grace Awakening is an urban fantasy YA novel (modern romance and Greek mythology), and the most recent project, Murdering Mr. Edwards, is a series of a short stories that became a ‘noir-vella’. I’ve got drafts of two more books in the Grace Awakening series, but lots of other projects, too. I suppose if something really took off, I’d turn my focus to that genre, but at the moment I just write what I’m in the mood to write at the time. I read a lot of different genres, so it’s not a surprise I write several, too. That said, I love Charles de Lint’s books that are set in Newford, with assorted characters that wander into each other’s stories. That’d be fun to do someday. I could send some of the teachers in Grace Awakening to teach at Canterbury High, perhaps they’ll want to murder Mr. Edwards, too…
5. What was the best money you ever spent as a writer?
The money I spend each year to attend writing conferences is an annual expenditure of around $4000, but I think it’s well worth it. I’ve been signed by an agent and two publishers as a result of pitches at conferences. I learned how to pitch at conferences. I network with others at conferences. They are worth the investment. You get the tools, the tips, and the encouragement at conferences. You get out of the slush pile and meet the people you need to impress face to face. I try each year to attend Word on the Lake Writers’ Conference in Salmon Arm, BC; When Word’s Collide in Calgary, AB; and SiWC in Surrey, BC. Usually I manage at least two of the three. Last summer I attended a fantastically inspiring poetry retreat with Patrick Lane on Vancouver Island. There is so much to learn from these masters.
6. What was an early experience where you learned that language had power?
I remember the laughter of the grade 3 class audience when I read stories or put on puppet shows I’d written for Show and Tell. I guess that means I can blame all of this on Mrs. Thompson.
7. As a writer, what would you choose as your mascot/avatar/spirit animal?
I’m a chickadee.
8. How many unpublished and half-finished books do you have?
Hmm. Half a dozen or so novels done or in progress, three completed novellas, and a dozen or more completed short stories. Hundreds of poems are published on the blog, but there are more in the computer, I don’t know which are which any more.
9. What does literary success look like to you?
People laughing in an audience when I read my work. People writing or stopping me in the street or in the grocery line to tell me they’d read and enjoyed my books. I love it when that happens. I’m so honored that strangers will take the time to comment.
10. What kind of research do you do, and how long do you spend researching before beginning a book?
Depends on the project, of course. Usually I just write, and if there’s something I need to check, I look it up later, rather than interrupting the flow. Chris Humphreys and Diana Gabaldon have both cautioned about the research rabbit holes. It’s so easy to get lost in fascinating stuff, and forget there’s a story to be telling. I do some general reading on the topic, perhaps, but then I dive right in. There’s an exception to that. I have a historical piece that is on hiatus. I own translations of 600 year old texts and 300 year old volumes. I am not quite ready to pull it all together. I want to go to France where the events took place and immerse myself. I visited a few years ago, but that was only enough to tell me that exploring the museum and chatting with the curator was not enough…
11. How many hours a day/week do you write?
On various projects (including editing and promotional tasks, educational and curriculum writing, blog, poetry, and whatever novel project has my attention at the time), somewhere around twenty to twenty-five hours a week. More in the summer. When I don’t have to be in my class room at 9 a.m., I write all night and go to bed at 4 or 5 a.m.
12. How do you select the names of your characters?
Sometimes baby name books, sometimes I use the name of students (with their permission, of course), sometimes they just introduce themselves with names in place, and I have no idea where they’ve come from.
13. What was your hardest scene to write?
I did a lot of weeping when I was writing a scene on a logging road about Josh and a Sasquatch in Grace Awakening Power. But apparently readers do a lot of weeping there, too, so that was a good emotional investment.
14. Why did you choose to write in your particular field or genre? If you write more than one, how do you balance them?
I don’t think about it. I’m writing what I’m writing when I’m writing. I don’t have anyone telling me what to do with my projects, so I just do what speaks to me at any given time. Of course, Coffin Hop has been a priority this fall. If they’ve sent edits or whatever, everything else stopped while I dealt with Murdering Mr. Edwards. That’s been a fun, and completely unexpected project.
For me the harder balance might have been sorting out teaching life and writing life. I’ve decided to blur the boundaries a bit by sharing my work and experiences with my students. Lots of them would like to be writers, all of them need to know how to write something. Lots of advice applies to both situations: “You can’t edit a blank page.” “First drafts don’t have to be good, they just have to be written.” I show them manuscripts covered with editor marks so they know it’s normal to have to re-write, edit, and polish repeatedly! So many scribble something on the page and think it’s perfect. None of us is perfect the first time!
15. How long have you been writing?
I won my first writing prize at age 9, and received my first rejection letter at age 10. Both for poetry. I paid for my husband’s wedding ring with short story prize money. Then I was busy with university and only did non-fiction writing for about twenty years while I raised kids. The month after the kids moved out, Grace awakened.
16. What inspires you?
Almost everything. There are stories EVERYWHERE.
17. How do you find or make time to write?
I sit in the chair and I write. I write in the evening after dinner. I write while watching TV (if I’m not knitting). At this precise moment, I’m sitting in the tub, typing this on a waterproof keyboard. (I think about a quarter of Grace was written in the bathtub). Like Nike, I just do it.
18. What projects are you working on at the present?
I’m promoting Murdering Mr. Edwards. It’s a noir-vella that’s a collection of 12 tales. The same annoying English teacher is murdered in each story. The literary novel I’m mentoring with Gail Anderson-Dargatz explores the relationship of a couple dealing with his mental illness. I’ve got some short stories brewing for contest season. I am trying to get back to daily poetry on my blog. I’m compiling a curriculum guide for teaching poetry. I compiling a collection of non-sectarian invocations for Rotary Clubs. I keep lots of stuff on the go all the time; that’s one of Diana’s recommendations for avoiding writers’ block. It works for me.
19. What do your plans for future projects include?
Finishing a few unfinished projects, editing a few completed projects, touring around telling people about Murdering Mr Edwards…
20. Share a link to your author website.
www.shawnbird.com Twitter and Instagram @ShawnLBird (I share a lot of shoes on Instagram. My shoe collection is infamous).
Shawn Bird is a high school English teacher, an author, and a poet in the beautiful Shuswap region of British Columbia. After 2 years as a graduate student in the Faculty of Education at University of British Columbia’s Okanagan campus Shawn can no longer say she’s a “jack of all trades master of none” ’cause she’s wielding a certificate that proclaims she’s a Master of Education! 🙂
This week I have several events to attend, firstly my writers foundation Board meeting on Tuesday evening. Our main discussion will the final details for our writers conference later this month on 22nd. It is our eighth conference and we have made this one Canadian themed in celebration of Canada’s 150th birthday! http://www.wfscsherwoodpark.com/node/3090
My second meeting of the week is the Arts & Culture Council’s AGM on Wednesday evening. As President I have to chair the meeting and give an annual review. This will be my first AGM as President so wish me luck!
Finally I will be reading on Saturday at a local coffeehouse, I will probably read from Ockleberries to the Rescue if there are children present otherwise from The Rython Kingdom. Just need to decide on the sections I will read. I also wrote several little stories for this event as we are giving out ‘story eggs’ to the audience.
Please share your local events in the comments. Whether near or far.
My writing group held their annual writing conference this past Saturday. It was an excellent event (as always) and gave the attendees an opportunity to learn specific skills, brush up on others and enjoy a day networking with known and new writers.
blateration n 1656 -1864
I’ve had just about enough of your garrulous blateration, you clod!
brabeum n 1675 -1675
reward or prize
Without some brabeum, the students will have no incentive to work harder.
casitive adj 1652 -1652
having grammatical cases
The casitive nature of Finnish and Hungarian makes them difficult to learn.
celeberrimous adj 1768 -1768
very or most highly celebrated
Her celeberrimous accomplishments were lauded by her colleagues.
hirquitalliency n 1652 -1652
strength of voice
The wrestler’s hirquitalliency compensated for his lack of strength and talent.
interfation n 1656 -1658
act of interrupting another while speaking
His boorish interfations were ill-received at the academic lecture.
ipsographic adj 1817 -1817
He used the CD burner primarily for ipsographic purposes.
noscible adj 1654 -1654
It is noscible that no amount of training can make up for experience in the field.
patration n 1656 -1656
perfection or completion of something
The patration of my dissertation will be an occasion for great merriment.
portmantologist n 1887 -1934
one who studies or coins portmanteau words
Rather than being a portmantologist, why not use perfectly good existing words?
quaeritate v 1657 -1657
to question; to inquire
If I might quaeritate, why are we headed in the wrong direction on the trail?
solennial adj 1623 -1656
occurring once a year; annual
Welcome to our solennial celebration of the birth of our illustrious institution.
Our solennial Writers Foundation of Strathcona County conference this year, centered around the basics of writing. Our noscible presenters, Barbie-Jo Smith, Judy Schultz, Janice MacDonald and Linda J Pedley shared their expertise on a diverse number of subjects. They also gave us several exercises to perform. These included a blateration and interfation exercise, where in groups of three – one person wrote on a particular subject while the other two talked on another subject across them. It was a lesson in patration and concentration.
Other techniques for casitive, hirquitalliency, and portmantologist gave the participants the opportunity to quaeritate their processes and redefine how they write. One such technique is a ipsographic exercise to ‘hear’ your words. This allows a writer to identify if the words relay their story as they propose. Each session ended with brabeum draws of books.