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I'm pleased to report that I've accepted an offer of representation from Roz Nay at the Mint Literary Agency.

I started querying Chance & King back in April, having reached a satisfactory place in my own revisions to put it out there. Well, I'm pleased to report that the overall experience has been very different than the ego-bashing escapade of Aeden's Wake (aside from the obvious, the  offer of representation!). With AW, I blanket-queried about fifty agents and, apart from a single full request and a couple of personal notes, received form rejection after form rejection ("Dear Author..."). Very disheartening. In retrospect, I think I presented AW incorrectly, selling it as literary with an element of supernatural, when in fact it is probably better described as literary magic realism that happens to have the realism portrayed through supernatural elements.

I was able to take those hard lessons and apply them to my pitch sessions at the Surrey International Writer's Conference. There, after doing more research and speaking in person with agents about the book, I had better luck, seven full manuscript requests, and an offer from an agent in the San Francisco area. However, that relationship did not work out, her having signed me on the condition that she would only sell my book if my revisions met with her approval, and me, being blinded by the potential of having an agent, shortsightedly accepted. In the end, we parted ways because her enthusiasm for the project had waned and, although I brought AW to a very tight and solid place that aligned with my vision for the work, after a series of missteps and miscommunications, she refused to put it out there.

This time around, armed with a greater comfort about into which market I would like to place C&K, as well as knowing that The Niche is an element of magical realism (magical realism never explains why something is magical, it just is), I was able to narrow my search to agents who handle literary YA, and even find a handful who are seeking literary YA that dabbles in the urban/fantastic/magical. What a difference! Although I received mostly rejections, the vast majority were personal ones, with notes that praised the quality of the writing and the concept and were very encouraging all around. I also had a handful of full manuscript requests which, again, was very different than the experience I'd had with AW, where I only received one full and one partial request.

But most importantly, based on my previous agent experience, I resolved not to accept an offer of representation unless 1) the agent was openly and genuinely excited about the novel and my talent; 2) I was satisfied that I was in control of any revisions in C&K and that it would be presented to publishers after my revisions; and 3) the agent understood what I was trying to do with the novel's structure and form and would not ask me to alter the bigger vision. To do otherwise would be a loss for both parties: like what happened with AW, I might work hard at edits for a year only to find out it was all conditional on a differing/faulty vision and have it refused, and he/she might give a year of free editing advice without a sale at the end.

In the end, Roz blew me away when our conversation revealed that she was on board with all three of those hard lessons I learned, and was super excited to put the novel in publishers' hands. She has some ideas for revisions, of course, which I'll be working through, but she (and Morty, the agency's founder) assured me that it was my work, and I would guide any and all revisions to the novel, and that they would try to sell it when I was ready.

It's an amazing feeling to have my work recognized in this way and to know that my agent is 100% in my corner. Every writer who has bigger plans for his/her work should have that validation, I think.

Next stop: revising and selling the novel (and then hopefully getting it into your hands!).

 
 
Wrote a little profile of my favourite writing space for UBC. Thought I'd share.

Where I Write 

There are pictures all over the floor of my office, getting dusty. There are the photographs my wife encouraged me to print and frame, the ones I took in places like Romania, Oman, Italy, Kuwait. There is the gold-framed maroon and gold of my BA in English, the navy blue and gold of my BEd, the plain cream of a radio broadcasting diploma, standing on its rolled up end. They’re all very nice. I have the best intention of hanging them up. Actually, I should say I still have the best of intentions to hang them up, the same best intentions I had a year ago when we moved into our Westdale, Hamilton home.

But they aren’t on the walls yet. Only two things are: a candid shot of me and my Rosalee canoodling, taken when we thought we were on a break from shooting portraits. A foot or so away, on a greasy dot of blue-tack, hangs a single sheet of paper that says KILL THESE WORDS, and lists writing baddies like Suddenly, Started, Very, Then. Seems like every time I go into the office to decorate I end up at the desk instead, chicken scratching an outline or character sketch or hunt-and-pecking through edits or new material. The picture of my wife inspires me to create; the other keeps me sharp when it’s time to hone my words.

 
 
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I found a link to "Bean Counters," my recent feature in Biz Magazine.

Click here for text article.

or

Click here to access pageview article. 

 
 
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I received my official acceptance letter for my creative writing MFA through the University of British Columbia!

I'm very excited. UBC runs what is probably Canada's best MFA for writers.

 
 
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Yeah, we had some fun last night. Hamilton scribe Amanda Leduc – whose novel The Lives of Ordinary Men comes out in May, which means you should get it – organized "Steeltown Speakeasy," a casual reading at the Baltimore House on King William (a truly excellent venue).

I read from Chance & King, my newest WIP. We also heard from Liz Harmer, Dave Pace (that's Dave in the photo doing his reading), and Virginia Ashberry, a talented bunch of writers.

Amanda tells me she's going to try and make this a bi-monthly thing. Sweet! Here are some links/connections so you can stay informed:


Steeltown Speakeasy
Web: http://steeltownspeakeasy.blogspot.ca
Twitter: @steeltownspeakeasy

Amanda Leduc 
Web: http://www.amandaleduc.com
Twitter: @AmandaLeduc

Liz Harmer
Web: http://profswife.wordpress.com
Twitter: @lizharmer

Dave Pace
Twitter: @davepacebonello



 
 
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I love reading. But not always. I’m a writer who believes that a good writer has to read a lot, which means I take in a lot of literature. My interests are eclectic, but typically I try to mix up the kinds of books I read, so as to avoid what I call LNO, or “Literary Numb-Out.” LNO is a wispy disorder characterized by malaise and displeasure that critically-acclaimed novels can often blur into each other. I’ll follow up a literary heavy-hitter with genre pulp, a biography with short fiction, a chick-lit staple with a graphic novel, a CanLit critical success with...well, anything. Wow, you found a CanLit piece laden with the angst of our great outdoors featuring an immigrant wrestling with sexuality? Rare gem, indeed!

(For the record, I love CanLit, but more often when it tries new things and stops apologizing for itself.)

I have been privileged to read some truly remarkable contemporary work over the past few years, and I thought I’d share a few of them. This inlist, entitled the “Books that Made Me Love Reading Again” list, is my church-friend Emily Hill’s very good idea.


Neil Gaiman, American Gods 
This was the work that made me want to write novels. Awesome writing about an epic battle between humanity’s new and old gods. 

Ian Weir, Daniel O’Thunder*
A remarkable man boxes the devil in Victorian London. Right?!

Miriam Toews, A Boy of Good Breeding*
Small town Canada. Features a girl named Summer-Feelin’. 

Stephen Kelman, Pigeon English
My favorite read for 2012. About an African immigrant child in London’s inner-city, written in his vernacular. Fabulous.

Nino Ricci, Lives of the Saints*
Didn’t know Ricci until he was assigned as my mentor through The Humber School of Writers. Now I do. He’s excellent.

Charlotte Gill, Eating Dirt*
Poetic memoir about tree-planting culture. I planted, too. She gets it.

Robert Olmstead, Coal Black Horse
Lush, literary Western.

Patrick DeWitt, The Sisters Brothers*
Deceptively simple Western about hitmen brothers. He got lots of awards. Well deserved.

Alfredo Vea, Gods Go Begging
Heartbreaking and human Vietnam War tale.

Chimamanda Ngozi Adichie, Half a Yellow Sun
An excellent read, made all the better by having met and seen Adichie speak at the Galle Literary Festival.

Andrey Kurkov, Death and the Penguin
About a man’s relationship with Misha, a penguin, as they struggle together in a post-Soviet city. The penguin is an amazing character. Met Kurkov in Galle, too.

Romeo Dallaire, Shake Hands with the Devil*
Recounts his time with the UN during the genocide in Rwanda. Brutal and unputdownable.

Tim O’Brien, The Things They Carried
Am including this because I was able to read it again a short while ago. Absolutely the best Vietnam War novel I have read. Oh, the writing, the writing!

Markus Zuzak, The Book Thief
Learned this was a Young Adult work much later. Loved it.

Stephen King, 11/22/63
A very good yarn from a writer who makes writing look effortless. King’s best, I think, since The Stand.

Justin Cronin, The Passage
The first in a trilogy. Well-written, literary vampires. Who knew?

Ayaan Hirsi Ali, Infidel
A woman’s struggle with conservative Islam. Tough read, especially if you’re of the “all religions have equal value” mindset.

*Canadian

Okay, I’ll stop now. Any books you’d recommend?


 
 
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My redesigned website is now live!

I had three goals for the new design: 

1. To be better looking than the old one.
2. To be leaner, simpler, and more focused on stuff that matters.
3. To make it easier for my readers to find and get my stuff.

Check, check, and check.

I hope you enjoy it.

Brent

 
 

You may recall that in October 2011 I came back from the Surrey International Writer’s Conference with a bunch of requests for the Aeden's Wake manuscript and ended up signing on with one of the agents I pitched. Well, it is my sad duty to report that we’ve parted ways. 

What happened? In short, I think we share the responsibility. She cooled on the project based on my reluctance to make every change she suggested; there were many good ideas, but some of the bigger ones took my work in directions that did not meet my vision. I erroneously assumed that she would approach publishers when I had made the revisions and was happy with the final product, while she planned to go on submission only after all the changes were made and only if she was satisfied with them. I should have asked better questions. Our mutual error was, I think, in not letting go sooner: birds in the hand, perhaps.

So, the new year launches me back into the querying and pitching game. (Yikes.) I know it will be a slog with moments of heartbreak, but I’m not dreading it as much this time. This time around should be easier – at least in terms of the process, if not the success – because I know what to expect, how to pitch, and can focus my efforts even more. Also, with the new novels written and another begun, my regular column work and some freelancing keeping me busy, and starting a creative writing MFA in the fall, I’m also starting to realize how importance patience is to the writing game. Good things are happening: I just need to keep working hard towards my goals.

It’s also exciting to read the experiences of other writers and that the agent-author relationship can be more than about a single manuscript. I realize that this post might scare off agents who are looking to represent a work at a time – and to an extent I get that, we have to start somewhere – but am also hoping that it might excite the ones who would be willing to look at a bright career in the making. 

For myself, as I jump into the next round of querying and pitching, here are my thoughts on “Finding an Agent, Part II”:

  1. I will ask more and better questions right from the start. 
  2. I will pay more attention to any sign of hesitation from myself or a potential agent. We have to be excited together.
  3. The excitement must endure throughout the process, even if publishers reject the work. I have much material and a future to offer, and my agent must be on board with that.
  4. Communication is key. My agent has to reach out to me at least as often as I reach out to him. Not excessively, of course, but I need to feel like I’m an asset.
  5. My agent should represent me and my work, not just the manuscript. I want to be excited about putting the next project in her hands, and she has to be excited about the next project.
  6. My agent should comment on my blog posts, follow me on Twitter, like my Facebook page, and brag about me openly. I will do the same.
  7. I will be wary of an agent who insists on extensive editing. Editing will be necessary, but in the end, he has to trust my skills enough to know when to say enough and not hold the manuscript hostage. 
  8. My work will stand or fall on its own merit and my vision, even if – especially when – I try new things. It’s a tough market, yes, but it’s starving for innovation and quality too.

I hope it doesn't scare anyone off, but I have to be true to my aspirations too. Onwards and upwards!
 
 
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"In Our Normal Voices" appears in my Christmas story collection, Finding December: Christmas Tales.


In Our Normal Voices

My name is Hope. I’m thirteen. My big brother Andre died in June of this year. He was seventeen. It’s been a tough six months.

There’s a massive turkey roasting away in the oven, and the smells of potatoes and beans and gravy are beginning to compete. My parents are sitting at the dinner table and discussing the empty chair. Not arguing, discussing. Usually when they disagree about something important, they argue. Not arguing in a bad way, but like parents do when they love each other, with exasperated facial expressions and tense moments but really loud laughter afterwards. This evening, though, their discussing has followed the harder pattern, quiet, where every word is important. The sort of discussion they have when discussing anything to do with my brother, who was really good at math and was looking forward to college.

— There shouldn’t be an empty seat at Christmas, my mother says.

— That’s the point. To remember.

— It’s depressing.

My father turns away then, his eyes filling, sad and defiant, like they’re mirrors for the thoughts I know he’s having. He’s thinking, Of course it’s depressing. How could it not be, right?

Grandpa clumps down the stairs from his room, his prosthetic leg awkward on the steep steps. He calls it the Gimp leg I left on that mountain, but Mom and Dad refuse to, teaching me and Andre the proper word a long time ago. Some people who have been in the wars don’t like to talk about it – my friend Huda’s dad won’t talk about the desert – but Grandpa does. His favorite story was the one where he lost the gimp leg because of that damn sniper, where the choppers couldn’t come in for a couple of days because of the cloud cover, and the femur shot getting gangrene, but thank Christ for the beer they mistakenly air dropped instead of ammo. I’m old enough to know he didn’t actually leave his leg up there, but that’s where it died. He stops on the last step, looks around the big open space where we hold our holidays, and narrows his wrinkled old eyes.

— Everyone talks so quiet. Too damn quiet. When do we get to speak normally again?

Mom and Dad turn towards him, their mouths wide open. Grandpa hasn’t spoken a word since he lost his voice at the memorial service the high school held for Andre and his three friends at the start of the new school year. Maybe that’s where Dad got the chair idea: the school had lined up four empty chairs in the senior class’s seating area. I remember thinking it looked like a gap in a row of baby teeth. Grandpa was supposed to speak before he stood at the podium and lost his voice. He and Andre were pretty close, so the school asked him to. I don’t think he lost it, though – I think he put it away to be safe for awhile.

— Dad, we’re just trying to decide –

But Grandpa just turns his back on his only daughter and limps towards his favorite chair in the living room. He can stare at that Christmas tree for hours. We’ll call him when the food’s ready.

There’s a squeal from the corner of the table and a gurgle and the sound of plastic on plastic. Silas loves sitting in that high chair, loves throwing his sippy-cup to the floor and banging his baby-safe utensils on the tray like it’s his very own eight-month-old drum kit. He’s grinning to burst, cereal all over his face and smeared through his super soft hair. Mom leans in with a hopeful spoonful of cereal. Silas is awesome. He even gets a smile out of Dad. He was Definitely not part of the Plan my parents say sometimes, but he’s loved in bunches, that’s for sure.

— What do you think, Hope?

Dad’s asking, but Mom nods like it’s okay he brought me in. He wipes his eyes and waits for me to answer. Have you ever had that feeling where you know you’re about to jump into an important moment, but that you have no idea where you’ll land? I’m having that feeling now, so the answer doesn’t come right away. Dr. Chatwell, the nice doctor the school found some spare office space for, says it’s important for me to be honest with my feelings. Sometimes, me and the other kids who lost their brothers in the same crash – there are three of us, a girl who’s in grade six, a boy in grade seven, and me – get together at lunch to talk about our sessions with the doctor. The other kids look at us weird because we’re all in different grades, but we don’t mind.

— I don’t know. It’s a hard question, I say.

I can’t say any more, stuck on what Andre would say about us dwelling on his absence so much. Wouldn’t it be about his feelings, and not mine? Dr. Chatwell suggested I write a letter to Andre and tell him what I’m feeling, but I think that’s kind of a dumb idea because what’s the point of writing someone who can’t answer back? We’re all quiet for a while, absorbed in Mom’s battle with the cereal and Silas’ cluelessly adorable mess.

There’s a knock on the door, so soft you’d wonder whether you missed the first. Mom and Dad look at each other, as if to ask without words Who it could be on Christmas Eve? We haven’t been to church since Andre died, but the ladies were pretty faithful at bringing meals by after the accident with sad eyes and the words We’re so sorry more times than even Andre could have counted. Five o’clock, every time. Enough time to throw it in the oven to be ready in time to sit down as an almost family. Eventually I took it upon myself to answer the doorbell; after a while it seemed like the dishes were too heavy for my mother to carry away from the front step. I open the front door. There’s a man standing there, smiling shyly, hesitantly, with dark skin,  incredibly white teeth, and a small cloth package under his arm.

— Can I help you?

— Is this the Reddison house?

It’s a man’s voice, but a young man. I wonder how old he is. My father is suddenly standing beside me in the doorway and looking down at the visitor, who looks up and swallows. My Dad’s tall. Have I ever noticed that before?

— Who are you?

— Sir, my name is Ali.

— I’m sorry, but I don’t –

A sharp four letter word from the dining room table echoes down the hall and into the cold air outside. Dad and I look at each other, surprised – Mom doesn’t usually use that kind of language, constantly worried what Silas might pick up. I’m tempted to laugh. It definitely won’t be prosthetic.

— I completely forgot – it’s okay, let him in, she calls.

Dad and I stand aside as the young man, dressed in jeans and a very expensive-looking winter coat, steps into the hall and removes his trainers. Dad takes the coat and hangs it up in the front closet, then the three of us move awkwardly into the dining area. Mom is in the kitchen busily wiping and rinsing the high chair tray in the sink, having lost the battle with Silas, who sits in the chair, still covered in baby cereal. He smiles up at the visitor and throws the plastic spoon towards his feet. Ali quickly picks up the utensil and hands it back to Silas, who promptly throws it down again. Ali tilts his head and smiles at my baby brother.

— I know this game, young man. No more spoon for you.

Silas gurbles an appropriate response and giggles at Ali, pacified. Dad and I look at each other.

— I have a younger brother, Ali says, noticing our look.

As my mother dries her hands and comes back into the room, hair all a mess and bits of cereal on her sweater, I look at our visitor, trying to guess his age. It’s hard, though, his smooth skin and wispy beard making it hard to pin down. She looks so embarrassed, and explains to Dad about an awkward phone call from one of the church women where she somehow ends up volunteering to host a church-sponsored refugee for Christmas dinner.

— I thought it might help distract us, she says.

A long moment passes as she looks at Dad, waiting for him to say something. I know the look on his face, the one where the shadows win, where he doesn’t really know how to think about anything other than Andre. He won’t want the distraction. He wants to dwell. But then his eyes soften, he takes in a long, slow breath through the nose, and nods at her. Maybe it can, the look says. Mom looks stunned at the reversal, but then some gratitude shines through. She turns to Ali, smiles, apologizes for the state of the house and for forgetting about his arrival, and holds out her hand.

— It is wonderful to have you here. Welcome to our home.

Ali changes a little, like her words are a code of some kind. His back straightens, his chin rises, and he begins thanking her for the incredible privilege of being with our family. My mother responds in the same way as we make our introductions. Formal. Proper. Yet nice, expected. Even Grandpa limps over to shake the young Kuwaiti’s hand. He doesn’t say anything, but he changes. We all do, in the same way, like finding a lost routine, reclaiming some comfort in the meeting of a new person. Even the small talk feels good, which is weird.

— But I have to apologize too – I’m not a refugee, Ali says.

— Mrs. Epping said –

Ali laughs quietly and explains how one of his classmates at college – Mrs. Epping’s son – overheard him talking about having to stay over Christmas rather than returning home. They must have mistaken Kuwait for another country and not heard him talk about how his government allocates some of its oil wealth to educate its youth, paying for tuition and living expenses wherever in the world they choose to study. That must be nice, I think. To never need anything.

— I’m here by choice, and with everything completely paid for, he says.

— They didn’t hear you, Mom says.

— It kind of got away from me, so the next thing I know I’m signed up for Christmas dinner with you.

Everyone laughs, even my father. Now, I know you can’t just erase the bad with a moment of good, but I don’t want this good one to end for a long time. The air seems different, like we’re finally breathing the clean stuff after so long with the bad. Ali responds very politely to all of our questions about his homeland, even when we ask if he’s homesick. He says he feels it all the time, but that he will go home after the special round of projects that is keeping him around over the holidays.

— Speaking of home, this is for you, he says, bowing slightly and offering the small cloth package to her with both hands.

Mom takes the package softly, and begins to untie it. The green, red, and black covering looks like silk. With each layer revealed, a lovely smell, like perfume, gets stronger and stronger. Finally, two small boxes are revealed, one with a photo on the front that looks like a small brass lamp, the other plain and covered in a strange script.

— What does it say? I ask.

Ali lifts the box from my mother’s hand and opens it. Inside lay numerous rough, dark items that look like bits of midnight bark. The smell grows even stronger.

— It’s incense. It’s called bakhour, he says.

— What’s it for?

— Well, it smells nice, of course, but it’s also for chasing bad spirits and memories away.

Ali doesn’t see the four of us looking at each other as he describes the ancient practice of lighting the incense. He doesn’t hear Dad’s painful swallow, see Mom’s eyes fill with tears, or notice Grandpa’s urgent need to blow his nose and wipe his glasses as he tells us to carry it around the house, filling our home with the strong scented smoke. He doesn’t see our faces fall as he tells us to make sure that the vapors are brought evenly into every room, every nook, every space, where the darkest of spirits hide. He does notice the silence when he finishes, the silence we have created, and he stands, confused and concerned, looking at us. You shouldn’t argue with such good intentions, so we don’t speak: there are some bad spirits and memories that cannot be chased away with smoke and perfume.

Grandpa heads back to his chair. Dad mumbles something about burning the turkey and disappears into the kitchen. Mom unstraps and scoops Silas – who has gone oddly quiet – from the high chair and follows Grandpa into the living room. I sit at the dining room table directly opposite Andre’s chair, torn between hiding the tears that are freely running down my cheeks and taking responsibility for our guest.

Ali isn’t saying anything, and looks around, obviously horrified that he has done something dreadfully wrong yet having no idea what it could be. I know he hasn’t, that his gift was thoughtful and good and kind. Normally it would be, anyhow. So I sigh and give him the short version of our family’s sad story, the same one I started this story with. It’s as much as I can manage.

He sits in the nearest chair, looking very much like someone kicked him in the stomach.

— I – I had no idea, he says.

— You couldn’t have known.

A few minutes pass in the silence of the house. There are no sounds coming from the kitchen or living room. I know where Dad will be, leaning over the sink with his eyes closed and his head down. Mom and Grandpa are staring at the Christmas tree and unlit candles on the windowsill. Silas has probably fallen asleep. Ali just looks shattered, the poor guy.

— You don’t speak with an accent, I say, reaching.

He smiles.

— I went to an American school back home. Arabic is actually my second language, if you can believe it.

Another long moment.

— Hope is a nice name, he says, reaching back.

I’d never tell my parents, but I love my name, even though it was popular the year I was born and not terribly original. I wonder if Ali is a Muslim, like Huda. They have the same amazing skin and dark, dark hair. She told me that their god Allah has ninety-nine names, each to describe a separate part of his personality, and that Hope is one of them. I’m not sure how I feel about God right now, but I share this with Ali anyhow. He shakes his head and says he had to learn all ninety-nine as a child, and that he’s pretty sure that my name isn’t on the list. But then he must have seen me frown at this, because he leans across the table.

— I don’t believe in God, but if I did, it would seem, for someone so almighty, that only ninety-nine names wouldn’t be enough. Hope could be one of the others.

It’s a nice thing to say. Andre used to do that too, reach out to make me feel better. He’d stop whatever homework he was doing, or close his laptop, or turn off his phone, just to make sure I had an answer for whatever was bugging me at the time. He was just always full of concern, even when we were driving each other crazy, so why didn’t he step in to take the keys that night? People always responded, waited for his right response – why hadn’t his friends waited for his kind answer, the saving word?

His chair sits to Ali’s right. It’s just a chair, but why can it seem emptier than it really is? If I wrote my big brother a letter, I’d ask him that. Why, Andre, when my eyes are open, is the chair so empty? When they’re closed, why can I still see you sitting there, filling it? Open them and you go away again. Close them and there you are, face so bright it’s like God painted it with his best paint, in his favorite, brightest colors.

— When I close my eyes, I see my brother, I tell Ali.

He looks at the spot where Andre always sat, but says nothing.

— I just want to close my eyes forever, but it’s hard to say that to anyone.

I hear a soft cough behind me, and turn to see my mother there, with Silas sleeping on her shoulder. He’s just so peaceful, draped perfectly limp with his little face against her neck. She’s watching me with a new expression, one I can’t quite figure out. I turn back to the table and see Dad in the doorway, looking at his feet and gnawing at his lower lip. My mother coughs again and taps me on the shoulder, telling me to go wake Grandpa up. In a low voice Dad says the turkey and all the trimmings are ready, and that nothing got burned, not even a little. He sounds pleased. Then he rounds the table, pulls out Andre’s chair, and invites Ali to have a seat, telling him he hopes he likes turkey because there’ll be a mountain of it.

The chair has to be filled, I know, but it’s still so, so good. And by the time the meal is on the table, we’re all there, talking in normal voices and even laughing a little. Laughing, maybe, at every occupied seat and the fullness to come.


 
 

The online writing community is an interesting mishmash of, well, everything. Trite to profound. White through black. Crap to gold. And so on. And because trying to get answers about writing online can seem a lot like drinking from a big, sloppy fire hose, I drop in only occasionally.

However, the meme entitled “The Next Big Thing” has consistently revealed itself as an enlightening way to see other writers’ processes, so when fellow scribe and library slogger Liz Harmer (http://profswife.wordpress.com) tagged me in her post, I was excited to participate. And now that I have completed the first draft of my NaNorWiMo project, I’m ready to play too. 


The Next Big Thing


What is your working title of your book?
Chance & King. But it isn’t a working title; for the first time I chose the actual title of the work before I even began the draft. I’ve completed two other novels and have begun a third, all of which have/had working titles. Aeden's Wake was the working title and ended up as the best fit. What Steps We Carry started its life as Old Habits, which were the first two words of the first draft. And finally, The Mural, my other WIP, is titled after the destination and object of obsession for my protagonist, and will probably adopt another title at some point in the process.


Where did the idea come from for the book?
A few years ago, I wrote a short story for Inkwells, my writing group in Seoul, entitled “Second Chances,” about a girl named Mutton who has a life changing experience in a thrift store. Both the character and the name of the store stuck with me, even as I became excited about writing a novel set in Hamilton, which is where I live and play. Then, one day, as I was walking down King Street past Gore Park, I imagined Mutton and her family running Second Chances, a thrift store with a magic secret, from a spot at Hughson Street and King. The ideas flowed from there, and I thought about making this novel my NaNorWiMo project in 2011. But getting my library gig, as well as signing with a literary agent and embarking on Aeden's Wake revisions took over my writing time last November, so I shelved the project until this year.


What genre does your book fall under?
I’d say it’s literary Young Adult, with a smattering of magical realism. But adults will enjoy it too, I think, so I hope it has some crossover appeal.


Which actors would you choose to play your characters in a movie rendition?
This is a game I never play. For two reasons: first, as a writer, it completely kills the organic nature of the images I conjure as I craft my characters, by putting famous people where my imagination should be; second, as a reader, I find that my favorite books are brought down by supplying a famous face rather than letting the writing populate the “theatre” of my mind. The Lord of the Rings is an excellent example; although the movies are excellent, I hate – and I mean loathe – that my idea of Tolkien’s sublime Frodo Baggins has been usurped by the mediocre acting skills of the doe-eyed Elijah Wood. If my readers want to do that, I say go for it, but if they decided not to tell me which flavor-du-jour they’ve chosen for a character I’ve created to be timeless, that would be fine too.


What is the one-sentence synopsis of your book?
I’ll do you one better. Here’s the first paragraph:

I don’t want to begin this story with a gun or a robbery. I’d much rather talk about the rest of the summer where everything changed, the magic cubbyhole at the back of my mother’s store, the unexpected saint who saved us, or even a kind of love that was so big that it couldn’t help but hurt in the end. But the gun is what I see first when the memories of that summer come up for air, and it isn’t something to ignore, given how much living I had yet to do.


Will your book be self-published or represented by an agency?
I’ve self published some of my smaller works, but I hope to find traditional publishers for my novels. I am currently agentless. I had representation for Aeden's Wake, but in November we decided to part ways due to differing visions for the novel. I will be querying agents when I’m satisfied Chance & King is polished enough.


How long did it take you to write the first draft of your manuscript?
About fifty days.


What other books would you compare this story to within your genre?
Ach, trick question. I’m not sure, really, as I haven’t read enough YA to make an adequate comparison. In addition to the magic realism, there is an element of the classic teenager coming-of-age archetype, as well as the milieu of family challenges and successes in an urban, post-industrial setting.


Who or what inspired you to write this book?
Mutton made me do it: right after writing the story “Second Chances” I knew I wanted to come back and visit her and the thrift store and listen for what story she would tell.


What else about your book might pique the reader’s interest?
Well, there is the Niche, that magic cubbyhole I mentioned which, if you let it, might deliver exactly what you’re looking for. Mutton has a sick little brother named Wu and an older brother named Leich, all named by their mother Anne, a retired hippie with a secret electronics obsession. There’s The Outfit, a mobster, The Shirt, a city councillor, Mutton’s best friend Beige Peter, and a mysterious boy who will make Mutton question her priorities. In the park, you’ll discover the joys of breakfast at Satan’s Falafel and maybe fall in love with Wu’s favorite statue. And it’s set in downtown Hamilton, a rough but true place, in a city whose magic is its best kept secret.


Writers I’m Tagging:

Click on the names to go to their blogs.


Liz Harmer: my muse on this Next Big Thing jaunt. She's a very thoughtful writer. Can't wait to read more of her stuff.

James Leck: has shaken up the kids books scene in Canada with The Adventures of Jack Lime. He’s a great writer and excellent dude, so feel free to buy a book or two.

Nicole Baute: says that I have my “shit together,” (here’s the proof) so she has to be awesome. Plus, she really cares about the craft, which is awesome too.

Lesley Trites: we connected through the Humber School of Writers. She writes about wine, and writes about it really, really well.

Alison Gresik: an incredible writer and writing/creativity coach. Seriously polished and professional and super nice.

Patricia Blais: writes under the pseudonym Katrin Blue and is the author of The Oak Trilogy: The Young Oak.

Christina L. Farley: has just signed on to have her first novel, Gilded, published in November 2013. She helped me write better.



Message for tagged authors:

Rules of the Next Big Thing

***Use this format for your post
***Answer the ten questions about your current WIP (work in progress)
***Tag five other writers/bloggers and add their links so we can hop over and meet them.

Ten Interview Questions for the Next Big Thing:
What is your working title of your book?
Where did the idea come from for the book?
What genre does your book fall under?
Which actors would you choose to play your characters in a movie rendition?
What is the one-sentence synopsis of your book?
Will your book be self-published or represented by an agency?
How long did it take you to write the first draft of your manuscript?
What other books would you compare this story to within your genre?
Who or what inspired you to write this book?
What else about your book might pique the reader’s interest?
Include the link of who tagged you and this explanation for the people you have tagged.
Be sure to line up your five people in advance.