Over the years I’ve approached writing with:

1) An ego-based, left-brain, “yang” energy, pushing myself hard, pursuing sky-high expectations of achievement. This made writing torturous and left me constantly falling short, feeling like a failure, writing at a rate of 2 sentences per hour, and eventually giving up.

2) An instinct-based, right-brain, “yin” energy, much gentler to myself and my writing as I tried to let it come to me without demands or expectations. This helped me explore my writing and produce a lot more words, but could still be pretty torturous as my stories lacked plot, structure, and drive, and my writing sessions often felt directionless and confusing.

3) And finally, as you may have guessed, an approach that is a balance of the two, and is generative, nourishing, supportive, sustainable, and productive.

Yearning to write, struggling to write, failing to write, and -- finally -- writing: this has been my life's work.

So when the artistic director of the St. Lawrence Shakespeare Festival (full disclosure: I'm married to him) asked if I would create a creative writing course for their new artistic mentorship program, I found I had quite a lot to share.

I'm offering two courses this fall through the St. Lawrence Shakespeare Festival's Artistic Mentorship Program:

Writing Creatively is for adults who yearn to tap into creativity reliably and joyfully, without running into writer's block and giving up when they've barely started.

Creative Writing for Teens is for creative writers aged 14-18 who love to write and want guidance to develop the tools they need, with the freedom to follow their own creative path.

In each of these 8-week virtual courses, we will:

• Develop a sustainable and sustaining creative practice, where commitment meets inspiration.
• Learn the tools we need to get out of our own way and step into the flow of creativity -- despite resistance, doubt, and the inner critic.
• Write a short story from idea to completed draft (using principles that can be applied to whatever comes next: more stories, a novel, a memoir, a play…)
• Generate and refine our work within the safe container created by our 8-week commitment, weekly online gatherings, a supportive mentor, and our fellow writers.
  

Writing Creatively meets virtually Wednesdays at 7:30pm from October 28 to December 16, 2020.

Creative Writing for Teens meets virtually Thursdays at 4:30pm from October 29 to December 17, 2020.

This approach to creative writing is perfect for you if:

• You’ve always wanted to write but never felt you could give yourself permission to prioritize it.
• You already consider yourself a writer but you struggle to maintain a consistent writing practice and you’re looking for accountability, support, and a feeling of not being in this alone.
• You start stories, novels, or plays in great bursts of inspiration but abandon them halfway through when the words on the page fall short of the masterpiece in your imagination.
• Writing is what you long to do, but the reality is a struggle. Every time you sit down at your desk your precious writing time gets sucked up in editing your opening paragraph eight times, writing half a new sentence, checking Facebook, checking Instagram, responding to email, deleting the new half-sentence, and closing your computer in despair that you just don’t have what it takes.
• You’re willing to devote yourself to a creative practice and a set of creativity-sustaining principles, show up for your writing every day (ideally for a minimum of one hour), and trust the creative process even when it’s uncomfortable.

​If this sounds like something you or someone you know has been looking for, you can find out more about Writing Creatively here.

If there's a literary teenager in your life, send them on over to discover Creative Writing for Teens here.

This year I was editor and writer on the Canada's Walk of Fame commemorative magazine--a great experience that culminated in this amazing night with two of my sisters and one of my daughters. And Aphra got to meet Alessia Cara, who I'd interviewed for her profile in the magazine. "You inspire me," Aphra told her. 

Yesterday I had the honour of supporting my girl in a first step toward her dream. 

She is 8. I was 8 when I knew what I wanted to do with my life and began pursuing it seriously. I was 8 when I told my mother "I'm going to be a writer," and she, from that moment and to this day, believed in me unwaveringly. I know that 8 isn't too young to have a passion that's the real deal, a passion that can sustain you through decades of struggle and setback, an inner burning fire that says: This. This is the thing that I am here for. 

She wants to be an actor. Her father is an actor. (So were her grandmother and grandfather. It's in the blood.) She's wanted it already for years ("I've been waiting over half my life!"), but Richard, himself a child actor, has reservations. Acting isn't like writing, where you can do what you love on your own in your bedroom, where the thing you're creating is allowed to become its full self without judgment or rejection or even praise at least until after you finish making it. Where the thing you're creating, the thing that's being judged and rejected and shaped, isn't your very body, your voice, your physical-spiritual-emotional essence and what you do with them. 

But now she is 8, and there is no holding her back. Together we submitted her for an audition. She got called in. On the subway downtown she couldn't stop smiling. "This is the best day of my life," she said. She rocked it. Afterward I bought her ice cream and we wandered through David Pecaut Square, and in the square was a fountain with a flame, the Eternal Flame of Hope: "Symbolic of the hopes, aspirations, and triumphal achievements burning within the human spirit." We made wishes for the success of our aspirations and threw in our coins. She hugged me over and over. I told her always to remember the happiness and certainty and inner knowledge she was feeling right now, to remember it in 2 years and 10 and 20 any time the path seemed hard or long or impossible, and to let it sustain her because it's real. 

She was like, "I have no idea what you're saying." 

Three days in the country in an old farmhouse with stone walls 3 feet thick. 

Two writer friends (thank god--writing is a hard, lonely business). 

Brand new drafting on a new and unformed novel after months of revision and line edits on an almost-done novel. 

How do I do this again? 

One of the friends suggested paint. 

So I painted. Mostly as a way to put off actually writing.  

I have zero expectation of mastery with this art form, and that, obviously, is what’s liberating about it. I really can just make crap, because I know nothing about painting, crap is the only thing I’m capable of, and I don’t care, because I’m not a painter. I lost myself in it--in the colours, the texture of the paper, the tactile, physical action of dipping brush, squeezing colours, stroking the brush along the page.

​I started winding words into the painting. A voice came out.

And I had it. The voice. I picked up my notebook immediately and I began writing.

It wasn't easy, exactly. But I stayed with it for the whole 3 days--the notebook, the pen, the voice--and I'm proud of myself for that.

I have sat beside this book, my own books and I, in cafes and at retreat tables and at more cafes, when it was pen scratches in a notebook and a Word doc on a laptop. I read it as a red-covered ARC, I voted on the cover (this one!) and I even, in one wintry week snuggled on my comfy couch, had the privilege of scouring its proofs for typos and inconsistencies. Now it is a book between covers on a bookstore table, and I spied it today at Queen Books and took a picture and sent it to Sarah and said, "Look! Look!"

It is intense and thrilling and provocative and hard and good. I lived this book, the first time I read it; real life felt out of focus; nothing was of any importance until I could get back to the reality of these characters and their world. 

"Timely and brilliant," says Kirkus Reviews. Read it.

Last night, my girls and me, the launch of Marissa Stapley's new novel Things to Do When It's Raining. 

I had a great time as guest speaker at the Brockton Writers Series a couple weeks ago, speaking on a topic I am chagrined to be very familiar with. It was not, initially, a topic I wanted to open up about, and that resistance is part of why I said yes. 

Because I've learned that resistance usually means there's something I need to examine. And that if I feel a thing, I'm not going to be the only one. And if people are feeling a thing, somebody should probably open a conversation about it. 

My favourite response to the evening was from an older woman who told me she'd taken 22 years to write her novel--so long that by the time she finished and published it, it was classified as historical fiction.

I am delighted to report that since giving this talk, I have finished my novel. 

A FEW CHALLENGES INHERENT IN WRITING THE SAME NOVEL FOR 10 YEARS:

The world moves more quickly than your writing process.

You’re forced to rewrite scenes because, in the time since you started this book, answering machines have become obsolete and giant multi-million dollar construction projects have rearranged the landscape in which your story is set. Three hundred kilometre highways blasted through rock are built more quickly than you can write.

Other people might think you’re delusional about the merits of the book you persist in writing.

Closely related: you will fear that other people think you’re delusional about the merits of the book you persist in writing.
At literary events you have to account for yourself with “Yup, still working on the same novel. I’m almost done! For the eighth time.” Fellow writers with whom you once walked side by side will pull ahead to achieve completion, a literary agent, a book deal, a second book deal. When they say, at these literary events, “Wow, you must really believe in this book,” your mind will hear, “Wow, you must really be deluded about this book.”

Over a decade-long process of striving for and failing to achieve a goal, your own insecurities and the struggle not to compare yourself to others will on occasion ambush and derail you.

Being still in the process of writing a book at the 10-year mark—no matter how much you’ve learned through it, no matter how the book has deepened and grown, no matter how grateful you are that you didn’t publish the 2-year or 5-year or even 9-year version—can feel more like failure than success. If you consider writing to be your primary purpose and identity and if it is the only thing you have ever really wanted to do with your life, and you have also written other books that you didn’t finish or publish, you will feel, sometimes, like you have nothing to show for your very hard work, your dreams, and your existence on the earth.

A FEW REASONS IT COULD TAKE 10 YEARS TO WRITE A NOVEL:

You are not writing the book in a vacuum.

You must earn money, a necessity that sucks up the prime hours, energy, and brainpower of each day. You might have a life, which could involve marriage, divorce, houses, children, births, deaths, and a myriad of crises in between.

Anyone who truly wants to write will make the time. But also, anyone who has tried to maintain a consistent, productive writing practice while (for example) working 40 hours a week at a day job while freelancing on the side while parenting two young children while having a partner who works outside the country for months-long stretches knows that “It’s hard to make the time” is not merely an excuse. It’s pretty damn real.

It takes time to learn how to write a novel, and it takes time to learn how to write the particular novel you are writing.

This can mean full drafts that are almost nothing like the one(s) before. It can mean hundreds of fully fleshed-out pages going to the scrap pile. Characters and plot lines developed extensively, over years, with arcs that span the entire book, in scene after scene meticulously envisioned and set down and revised and finessed: scrap pile. 

You can have a stupendous inspiration in Year 2 and just know that the right thing to do is leap back in time to your characters’ childhoods and then you can write and develop that for years and it can become the deepest and truest and most beautiful part of your book but it can not belong, not at all, in this particular book that you are writing, and you can chop it all out one night at 4:00am in Year 7 because you have finally admitted to yourself that it stalls the momentum of the book and that you kind of have no idea how to create forward-moving plot. Then you have to go back to the beginning to figure out what is your story, if that’s not your story. 

That can happen.

Writing a novel can be a cyclical rather than a linear process.

Each pass reveals another layer. You’re peeling an onion. You’re plumbing the depths. You’re sculpting a slab of marble—only first you have to make the marble, then you get to sculpt it.

It can take half a dozen drafts to arrive at the heart of a scene, a plot, a character, a relationship between characters. It can take years to see that actually she doesn’t just go to the door and listen, she opens the door, she walks through the door, she makes the terrible decision, she’s plunged into the results of the terrible decision.

HOW TO WRITE A NOVEL IN 10 YEARS:

Believe in it.
​
Love your characters enough to stick with them, care about their dilemmas enough to keep following them, and hold onto that inner flame of knowledge that this story is worth telling. If you don’t believe in it, abandon it and find a new novel that you do believe in. (And don’t be ashamed of this choice; it can be the correct choice.) Or, find something to do that is less excruciating.

Experience the process as its own reward.

You and the page and the story unfolding under your pen: this is the best part. If you don’t feel energized or moved or challenged or fulfilled by the process, if you don’t at least sometimes feel that you’re doing what you came to the earth to do, you probably gave up long before the 10-year point.

Receive enough genuine encouragement to bolster you when your inner belief-flame dims.

Share it with trusted early readers, other writers, and eventually some agents and editors and publishing insiders who will probably, if it isn’t ready yet, reject your novel but might give you invaluable insight into what is working and what isn’t and why. They don’t hand out positive comments just for fun, so if you get some you will feel that you are not delusional, there is value here, and it is worth it to keep going.

Write and publish smaller pieces.

The satisfaction of completion and the affirmation that comes from someone else’s stamp of approval will make you feel like you’re an author, not just a wannabe, and will help sustain you through the long haul of your novel. Winning contests and receiving grants works too.

Bonus Tip:

Buy The 90-day Novel. Keep it on your shelf like a gleaming reward and a promise of another way…for when you’re finally free to start writing your next book.

​Originally posted on the Brockton Writers blog. 

Negotiations successful. Due to new bunk bed, children delighted to share a room.

​Mama delighted to have a writing studio again.

I'm proud to have helped inspire one of my husband's first-ever pieces of published writing. "Chekhov, Words, and the Long-Distance Relationship" is up at Intermission Magazine. Richard is currently playing Anton Chekhov at the Tarragon Theatre in a beautiful writerly play that unspools in letters. 

A lot like our courtship. 

Here's a sneak peak into Richard's piece: 

“I find it nearly impossible to respond to what I’ve read. I think it’s like watching a good play. I don’t want to talk about it until I have given it a chance to be absorbed entirely. Your words are utterly compelling. I hear your voice so clearly…and it moves me.”

I wrote this to my future wife, a writer who I barely knew. Over the course of many months, I had become addicted to her words.

Heidi Reimer and I met, briefly, in 2002, and for the following nine months we wrote each other letters, our courtship unfolding through words on a page. Or rather the very first letter, sent by her, was on a page—an actual page written on with a pen and mailed with a stamp—though the subsequent letters were emailed. But they were long, thought-out documents, with days or a week between each as we took our time composing and responding, carefully unveiling ourselves to each other.

Artists are used to long-distance relationships, relationships that are hard to sustain. The words used in communicating become important. Actors and writers use words, treasure words, mould words. Words are the clay of their art.

Anton Chekhov and Olga Knipper wrote to each other. He was a writer, she was an actress. They were frequently separated by her work and his health. Their love story unfolds in their letters. The play based on these letters is called I Take Your Hand in Mine…

I am playing Chekhov in this play, in a mirror image of my own experience. This time I’m not the actor, but the writer.
Chekhov met Olga for the first time at the Moscow Art Theatre for rehearsals of his play The Seagull. He was immediately attracted to her even though he mistrusted actresses. (“Actresses are cows who fancy they are goddesses … Machiavellis in skirts.”) Olga was ambitious, impulsive, talented. She loved life and threw herself headlong into her all-consuming passion: the theatre.

I also met Heidi for the first time in a theatre.

Read the rest over at Intermission Magazine. 

​

Family reunion, intermission at the St. Lawrence Shakespeare Festival (it's a costume--he isn't actually wearing a nightgown, nor joined a cult). And family trip to Ottawa. And so much river time.

Nine years of marriage (five years together before that), and I know and love this man more deeply and fully than I ever have. 

She learned to read like she learned to crawl. On her own, voracious for the world, and mostly while my back was turned. 

I am not, gratefully, at this stage of new motherhood anymore, but Bethan Roberts captures it wonderfully in Mother Island. It's really hard to write about the early days of motherhood. Who wants to read about sleep deprivation and crying for pages on end? How do you convey the depth and disorientation and total identity-rearrangement of it all  without boring readers and yourself? I'm coming up on a new-motherhood section in my work in progress and I think Bethan Roberts has just given me a clue: you do it succinctly. 

 I had a fantastic time reading from The Mother Act, my novel in progress, in the Readings at the Common reading series on Monday night. Thank you to Josef Hochleitner for capturing me in action! And to everyone who came out and gave such a warm response.

Writing a novel is terribly solitary, and it's rare to get the opportunity to witness your readers' responses in real time. Also terrifying. And also affirming. Someone other than me finds these characters engaging! I'm continuing on with renewed energy.

After months of waffling between ballerina and streetcar driver, she has made her announcement: she wants to grow up to be a writer.  

My Chatelaine essay is now online here.

And my favourite comment so far: "Frankly, I found this story very hard to believe. True to life? True to a good imagination more likely."

What can I say?

Wisdom from Diana Fitzgerald Bryden, here.