Bloggers In A Dangerous Time

Sorry. I listened to a bunch of old Barenaked Ladies songs on YouTube when I was feeling wistful the other day, and I was flailing for a title for this post.

Hello! I’ve been away from blogging for a while, and rather a lot has happened, hasn’t it?

I Believe I Can Pie, But I Probably Shouldn’t

My previous post, which was in December of 2019, was focused on my renewed interest in baking, specifically in pie. And I baked quite a few pies, although I only ended up blogging the first one. I enjoyed baking them, and for the most part we enjoyed eating them.

But I started to see a problem with my plan, which is that I was, well, baking a lot of pie while I was also trying to eat better and exercise more, and for me at least, that proved to be somewhat incompatible.

There were some ups (my pecan pie-ish mixed nut pie, my cranberry-pear pie with a nut crumb topping) and some downs (chocolate silk pie; I somehow hadn’t grasped that it’s essentially a pie shell full of icing even when well-executed, which mine was not), and you know, I was getting better at pastry there, which was one of my big goals.

But in the end, it just didn’t feel sustainable, especially when my Special Friend’s parents headed south to winter in Florida, leaving us without our regular family Sunday dinners and the other participants thereof who could help us dispose of all that pie.

So, I put my pie cookbooks back on the shelf. Of course, ironically, I’m now baking more and more regularly than I have in years — more on that in a bit.

And even if I hadn’t stopped baking, the pie post deficit I was already in probably wouldn’t have gotten better on its own. My blogging, never super consistent, was about to fall off a cliff.

Is It Too Late To Wish You A Happy New Year?

More evidence of that: I didn’t do my usual New Year’s posts this year either, which was a disappointment to me. I find the process of thinking about what I want to accomplish in the coming year, and distilling it to a few words or a brief phrase, is valuable. It sharpens my thinking and, as I’ve said before, helps me figure out when I’m on track and when I’m not.

But even though I didn’t blog about it, I did think about what my guiding phrase for the year would be. It’s not as thought out or as refined an idea as it is in the years that I devote a blog post to articulating and unpacking it, but it’s there.

2020’s guiding phrase is ‘mindful progress’.

And Yet, You Reply, Stephen Has Neither Been Mindful, Nor Made Progress

Well, you’re probably not saying that, in fact. But it’s what I imagine people saying, and it’s what I’ve been saying to myself.

Even before the pandemic, I was finding this to be a stressful, anxiety-ridden year. The world is slowly- and constantly-unfolding train wreck, and that turns out to be bad for my productivity. I’ve struggled — as I often do, but 2020 has been worse — to  make time to write. Blogging was one of the public-facing hits there, but so were my comics reviews for Skiffy & Fanty, and progress on my novel has been nonexistent.

It’s not just writing. Getting exercise has been a challenge — and that was when I could go outside, or to the building’s gym! Eating right is almost always the first thing to go when I get stressed.

A phrase I’ve been using a lot this year is ’emotional bandwidth’, and I haven’t had much bandwidth to spare, and the bandwidth that I have available, I’ve had to prioritize.

On what? On my job. On being a good father to my kids. On my Special Friend and building our life together. On working through the vital but time-consuming and sometimes emotionally difficulty process of finalizing my separation from my children’s mother.

And, you know, when I write it out? That’s important stuff. There’s a reason they’re my priority. It’s right that they’re my priority.

Even so, the things that have slipped by the wayside — exercising! Eating healthily! Writing, so much writing! — don’t become unimportant just because other things are even more important. They matter to me, and I feel their absence from my life.

I miss them.

I’m One Of The Luckiest Ones And It’s Still Terrible!

I’m safe. My Special Friend is safe. Our families are safe. The kids are safe. No one I know well has fallen ill or worse from COVID-19. We’ve been lucky, and I’m grateful.

But needless to say, there have still been impacts, bigger and more profound ones than the overall stress and the not exercising and the tending-towards-garbage eating.

The University of Toronto isn’t closed, but education has moved online and we’re all working from home, so I no longer go to the office every day. That’s been an adjustment.

My children’s mom and I decided that the wisest, safest course of action is for them to stay put, so we’ve temporarily suspended their visits with me for the duration. That’s for the best, even though it makes me sad to not be with them. Of course, I can talk to them via video calls, and I do, but it’s not the same as their presence, of having them here with me at home.

To be blunt, it sucks.

Time Is All I’ve Got

Because I’m one of the lucky ones for whom the disruption is more inconvenience than disaster, I really feel like it would be wrong of me not to do something good, something useful, with the time this disaster has allowed me to scavenge.

I miss my kids. I even miss my daily commute. But the absence of those things, which I regret, brings with it an enforced change in my priorities. Not having those priorities means that one thing I do have a bit more of is time

There’s a whole lot of discourse around this online, about whether people should feel pressure to be productive during our time stuck indoors and maintaining social distancing during the pandemic

I believe with all my heart that all of us have had our emotional bandwidth eaten up by this crisis. I believe that people should absolutely not feel pressure to do anything other than get through this time as happily and healthily as they can.

But I know, that for me, and speaking only for myself, that it will be far better for my health, and my happiness, and will expand my emotional bandwidth, to use this weird pandemic hand I’ve been dealt to address some of the other priorities that I’ve — rightly and wisely — otherwise had to let slide this year.

So far, I’ve been mostly using the extra time to read (good!), indulge in quarantine baking (delicious and fun but not always good for me!), and noodle on Twitter a ton (characteristic! But unwise! And stressful!)

I’m not going to stop reading or baking; both of those are good and useful, by my standards.

I also want to exercise more — I think climbing the stairs of the building will be a good way to do that. And of course, I want to write.

I want to write, oh my gosh I want to write. I want to blog. I want to review comics. I want to finish my damn novel, after brushing up my near-future cyberpunk-inflected adventure to include some reference to how people manage pandemics of course.

But time management, even with a little more time, is still an issue for me. Emotional bandwidth is an issue.

So, I’m starting small, with this catch-up, state-of-the-me post. Well, not as small as I thought it might be when I started, but then brevity has never been my strong suit.

After that, I have some comics to read, and review. A novel to finish. I need to make a writing plan, set aside real time — daily if I can manage it, any time I can figure out if I can’t.

And I want to do more blogging.

One thing I’ve really been realizing anew during the pandemic is how important it is — for me, and in general — to build and be part of communities. To communicate with and listen to people. Over on Facebook, since I started being stuck at home, I’ve been doing daily check-in posts where I invite my friends to let me know how they’re doing.

I started doing that because, well, it was a pandemic, and I was worried about them. But what I realized over time was how much people appreciated the opportunity to check in. To be invited to share how they are. To feel, in these isolating times, like part of a community.

Blogging isn’t inherently like that, but it can be. We can use this medium not just to blather about what’s going on in our own heads, but to forge connections with other people.

I want to. I want to contribute to making connections and be part of more and better communities.

Which is why I got excited about my friend Shaun’s new idea.

The Blog Challenge Project

Shaun Duke is an academic, SF&F fan, editor-for-hire, and one of the rapscallions behind the Hugo-nominated Skiffy & Fanty Show podcast. He’s also a blogger, and like me, one who would like to be blogging more than he has perhaps blogged in the past (I’m trying to see how many times I can use the word ‘blog’ in a sentence before it loses all meaning).

To that end, Shaun conceived of the Blog Challenge Project, which he explains, naturally, in a post on his blog.

So: We have here two of my itches scratched at once! We have an inducement to blog more via the prompts, and a community of the other participants. Other writer, to draw encouragement from, and to encourage.

It’s exactly what I needed. Thanks, Shaun.

I have no idea, at present, how often I’ll post going forward. More often than I have over the past five months, I bet! I’m going to need to sort out how much time I want to spend blogging vs. my other writer vs. my other priorities, old and new.

But if I have nothing else, during this terrible, frustrating, sad, scary, confusing mess, I do have a little more time, to sort those priorities out. And to write about where I land.

See you soon.

Coming Up Next On The Blog: No idea, yet. This post just about squeezed my brain dry! I guess I should read one of those Blog Challenge prompts!

Breaking In: Interview with S. L. Saboviec

Welcome to the latest installment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m thrilled to have the opportunity to interview a writer whose many accomplishments and responsibilities make me feel just a bit guilty about ever claiming that I don’t have the time to write – author Samantha Saboviec.

As she notes on her website, Samantha, who publishes as S. L. Saboviec, grew up in a small town in Iowa but became an expat for her Canadian husband, whom she met in the Massive Multi-player Online Role-Playing Game Star Wars: Galaxies. She has three daughters, including twin toddlers. She’s a member of the Codex Writers’ Group and the Science Fiction and Fantasy Writers of America (SFWA) and is a slush reader for Flash Fiction Online. She’s also currently undergoing treatment for metastatic breast cancer, a process which she discusses frankly and thoughtfully on her blog and on Twitter.

She impresses the heck out of me.

She is perhaps best-known for her Fallen Redemption series of novels. The third and most recent is the companion novel The Impending Possession of Scarlet Wakebridge-Rosé.

Scarlet Wakebridge-Rosé, busy executive and less-than-stellar mother and wife, has a problem that only an exorcist can solve. Except she’s not precisely a devout Catholic parishioner any longer, and to gain assistance from the Church means telling a whopping lie of omission.

Fortunately, she discovers Father Angelo Ambrosio, whose commitment to helping the afflicted means he’s willing to overlook the things Scarlet prefers to keep hidden. Unfortunately, his sordid past keeps him under a microscope with the bishop, who’s not so liberal in his views.

But the demon harassing Scarlet is relentless. It makes its motives clear: in a previous life, she struck a bargain, promising it her body on her fiftieth birthday. Now, she and Angelo must unravel the mystery surrounding her forgotten past in order to stop the possession by next week or risk losing her to the depths of Hell forever.

This stand-alone novel set in the Fallen Redemption universe extends the series to modern day. Enter a world where humans reincarnate, demons interfere in daily life, and the currents of fate carry us all to our destinies.

The series is self-published; see her website for links to find and buy the books via your preferred online vendor.

This is another Breaking In post focusing on a fellow contributor to Nevertheless (Tesseracts Twenty-One). So, yep, as I’ve noted, some degree of bias here.


The Impending Possession of Scarlet Wakebridge-Rosé, by Samantha Saboviec, writing as S. L. Saboviec


[SGM] Welcome to the blog, Samantha! To begin, when did you feel like you’d broken in as a writer?

[SLS] Did that happen already? Ha! I’d say a few months ago, I had a moment of feeling like I’d graduated to a new level (whatever that might be) when I realized I had six stories published or pending. It’s an arbitrary number, for sure, but it’s more than a couple—when I could say perhaps it was a fluke I got published. 

SL Saboviec - Head Shot

Author Samantha Saboviec. Also, Author S. L. Saboviec!

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

My plan was to write my first novel, find an agent, find a major publisher, and become a New York Times Bestselling author. You know, the Hollywood novelist trope. As anyone who’s been around the writing community for five minutes knows, that’s not how it works.

After querying my first novel unsuccessfully, I spent a lot of time soul-searching. I decided I liked the idea of self-publishing and went about teaching myself. I spent way more time (and money!) on writing craft, learning to critique, and edits than I did on marketing. After publishing the three novels I have out and realizing that “if you build it, they will come” is not a viable marketing strategy, I started educating myself on the business side of self-publishing.

Prior to getting pregnant with the twins and getting my cancer diagnosis when they were five months old, I had a tidy plan for how the rest of my writing career would go. I was in several self-publishing writing communities, I’d read all the books by all the big name SPers, and I was working on my next trilogy. I was going to publish them rapid-fire this past January while working on the next set. Boom! I’d be a serious author!

So that takes us to October 27, 2017, the day of my diagnosis. The story there is so dramatic you might think I’m making it up: I had had a biopsy of the “jaw anomaly” a few days before. I was working on edits to one of the books when the phone rang. My oral surgeon’s office. “Can you come in today?” asked the receptionist. “No, not next week. Today.”

That’s when I knew. I couldn’t fathom what. But I knew it was bad. I didn’t write or edit another word for months after that.

I kept up submitting finished short stories even while in chemotherapy, but I’m still struggling to write. Chemo is brutal. It sapped all my physical energy, let alone all my creative energy.

However, my goals and approach haven’t changed. They’ve just been unexpectedly delayed for a bit of time. What’s a year in the span of the universe, though? People will still be reading books when I’m ready.

And following up on that, knowing what you do now, what would you do differently?

Well, besides not getting cancer—

*Everyone laughs awkwardly*

—I would wait to self-publish my first novel until the entire trilogy was finished. That’s what I’m doing with this next trilogy. (As a side note, it’s actually steamy SF romance, so I’m writing it under a different pen name: Ariel Jade. Marketing!) I should have spent time on learning the industry. I did know that at the time I published Guarding Angel. I just decided I should go ahead anyway. I wanted my book out in the world. And that’s okay. (I did hope something would happen without marketing, but I knew it wasn’t likely.)

If I could wave a magic wand, I’d want to change the reality of traditional publishing to the fantasy that I had when I knew nothing about it. You know—easy, quick, lucrative. But since the publishing industry seems to be in something of a crisis, I’m happy to be self-publishing. I’m not opposed to traditional publishing, but I like moving forward. There is way too much “hurry up and wait” in trad.

Now that you’ve broken in, is it like or unlike what you expected? How?

I thought I’d be prouder to be where I am, but I think everyone suffers from Imposter Syndrome. Lately I’ve been working on the more spiritual side of life, and this is one area I’ve specifically been trying to improve. Feeling grateful for what I have and feeling proud of my accomplishments. That’s something everyone can do no matter where they are in their career. Look how far you’ve come, and congratulate yourself for the work you’ve done so far.


What are you working on now?

Part of my struggle to get writing again is knowing where to put my energy. I have developmental edits to apply to the last book in the Fallen Redemption universe; I need to work on those three SF romance books; too many anthology calls are tempting me; I’m long overdue for posting an update to my cancer-journey blog; a friend and I are brainstorming ideas for a collaborative project; and a fantasy short story inspired by my cancer is burning in my soul.

I think the cancer story is going to win out because I feel like I need to say something about everything I’ve been through. I’m working on it, but it’s at a snail’s pace. I’ve never struggled like this to write before, but I’ve also, well, never been this sick before.

Yeah, that spiritual stuff I mentioned? I’m in a huge battle with letting go of my perfectionist ways right now.

How can people keep up with you online?

You can subscribe to my newsletter at and get a free short story in the universe my novels are written! I’ve gone quiet for a while, but three months out from chemo, I’m gaining strength. Hopefully before the end of the year, I’ll be back on the writing saddle regularly.

Thank you to Samantha for the interview! I’m grateful to her for sharing the more personal elements of her story — sharing that sort of thing, openly and directly, is one of the things that I’m working on.

As a reminder, you can read her story ‘Pirates Don’t Make Amends’ in Nevertheless (Tesseracts Twenty-One), which is available now as an ebook from Amazon. Print copies will be available shortly, and you can be sure that I’ll be open and direct about sharing that news.

Coming up next on the blog: This is the final Tesseracts-focused Breaking In interview, so I’m not sure! After my hiatus, I find that I’m really enjoying blogging more regularly again, although I’m not sure I can keep it up at this pace without interviewees doing most of the actual writing! Nevertheless, stay tuned!

Breaking In: Interview with James Bambury

Welcome to the latest installment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m very pleased to have the opportunity to interview a fellow writer of both prose science fiction and webcomics, author James Bambury.

On his Twitter bio, James succinctly describes himself as “Writer. Teacher. Other.” His blog adds that his stories have been featured at Daily Science Fiction, AE Science Fiction Review, Ray Gun Revival, and in a number of other publications and anthologies. He’s also the creator of the webcomic SpaceBox. He writes and teaches in Brampton, Ontario.

Tad Bardeaux is lost somewhere in space.

Luckily, his escape pod is equipped with near-perpetual life support, although that doesn’t necessarily compensate for the lack of engines or propulsion. Then there’s the minor design flaw that caused the hull to permanently fuse upon its launch–it can withstand all kinds of space perils at the small cost of sealing passengers inside.

Trapped inside the escape pod, Bardeaux finds himself travelling through vast stretches of space and time–while looking for a way out of a box that is definitely not bigger on the inside.

SpaceBox is updated sporadically. 

It is made using Inkscape for the illustrations and layout. 

The Crimefighter BB font is used courtesy of Blambot‘s continuing support of indie comics.

It is written and illustrated by James.

This is one of my Breaking In posts focusing on a fellow contributor to the forthcoming anthology Nevertheless (Tesseracts Twenty-One). So, Sinister Plan disclosed!

SpaceBox page 1

Page 1 of SpaceBox, written and drawn by James Bambury


[SGM] Welcome to the blog, James! To begin, when did you feel like you’d broken in as a writer?

[JB] Thank you for having me! Now, have I broken in as a writer? While it’s easily argued I haven’t, I’d like to think that any moment I’ve had where my work has been read and understood is one in which I feel like I’ve broken in and the rest of the time I’m on the outside of things. The only thing that matters in writing is being read, it is how solipsism is transformed into communication. At the risk of understating the sense of affirmation that comes with selling stories, it was the first batch of rejection letters that made me feel like a participant in writing. I wrote down words, someone else bothered to read them (or at least start reading them,) and some kind of communication took place.

J Bambury - Headshot (1)

Author James Bambury

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

Dealing with rejection can be frustrating, but in hindsight I think many editors were saving me from myself. Just being persistent and patient to until there’s a match with a story and a market was the key. Also, accepting that what I may be writing and exploring is just different from what particular markets are looking for has been a lesson that’s taken me a long time to learn, but trying to extract ego and confidence from the process of writing for different markets has been difficult.

Now, specifically relating to the Tesseracts anthologies, I will confess to a bit of gamesmanship with my submissions. I’ve never edited an anthology, so this next bit is some guesswork on my part, but I see putting a story collection together as something similar to designing a house where the rooms are the different stories. The stories need to be connected to one another and complement a reader’s “walk” through the house but need to be distinct from one another. No collection needs to be made up of a dozen nearly-identical stories just as no one wants to have a house that’s comprised of a dozen kitchens. With that in mind,  I tried to think ahead to what sorts of submissions would be the major stories addressing the theme, the kitchens and living rooms of these anthologies if you will, then I tried to think about a spare-attic-bedroom type story that would complement the collection. To put it more simply: When an editor is calling for submissions on a particular theme, there’s likely a few really obvious types of stories that fit the bill, unless you have the best version of a particular trope or theme, it can be to your advantage to stray a little bit and find your own niche. When it comes to the theme of optimism in “Nevertheless,” my story is hardly a summative take on the theme, and not the kind of work you’d want to build an anthology around, but it does reflect a particular strain of optimism that should round out the collection nicely.


And following up on that, knowing what you do now, what would you do differently?

I wouldn’t bother with any rewrite requests. There’s a few times that opportunity was extended to me and while I am confident the editors meant well, they seemed to have something more specific in mind when asking for revisions and I think we were all a little let down by the process.

Now that you’ve broken in, is it like or unlike what you expected? How?

I continue to work in obscurity and that’s okay.

What are you working on now?

There’s a lot more I’d like to add to the webcomic, SpaceBox, that I’ve been working on. The story is just kind of a yarn that keeps going on. I’ve got an ending that I’m working towards for that series, but it’s going to take a while to get there. I’d like to try out some other forms for storytelling, like games and other interactive works. I am always on the lookout for interesting calls for submission.

How can people keep up with you online?

I tweet sporadically at @JamesBambury and the webcomic continues (also sporadically) at

Thank you to James for the interview! I too continue to work in obscurity — and that’s okay.

However, if you so choose, you can do your part to make both of us just a bit less obscure, because the ebook of Nevertheless (Tesseracts Twenty-One) is available now for purchase from Amazon!

Coming up next on the blog: My final Tesseracts-focused Breaking In interview, with author S. L. Saboviec.

Breaking In: Interview with Ursula Pflug

Welcome to the latest installment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m delighted to have the chance to interview an award-winning writer of speculative fiction, as well as an acclaimed playwright, editor, teacher, and journalist – author Ursula Pflug.

As she notes on her website, born in Tunis to German parents in 1958, Ursula Pflug grew up in Toronto. She attended the University of Toronto and The Ontario College of Art and Design. In workshop settings she studied playwriting with Judith Thompson and speculative fiction with Judith Merril. She has travelled in Canada, the US, North Africa, Europe, Jamaica, Japan, and Mexico. She has lived in New York City and in Hawai’i. Formerly a graphic designer, she focused on her writing after relocating to rural Peterborough County with her family in 1987 and currently lives in the village of Norwood with her partner, the multi-media artist Doug Back.

She’s had over ninety pieces of short fiction, three novels, two novellas and two collections of her short stories published, is the co-editor of two anthologies, and I’m pretty sure I’m missing at least a few credits there, too.

Her story ‘A Room of His Own’ will appear in Nevertheless (Tesseracts Twenty-One).

So, yes, my now-standard disclaimer applies: This is one of my Breaking In posts focusing on a fellow contributor to Nevertheless.



[SGM] Welcome to the blog, Ursula! To begin, when did you feel like you’d broken in as a writer?

[UP] I had a regular column about art in Toronto’s NOW Magazine  in 1981-2.  People I ran into on the street suddenly treated me like a professional—I’d been working as a graphic artist. I was still in my early twenties so it was a huge deal.

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

Persistence is the best strategy. People quit because they’re discouraged. My short story Python took seven years and sixteen submissions before it was published. It went on to win Rose Secrest’s annual award and was reprinted in prestigious US and UK venues including Jeff VanderMeer’s Album Zutique anthology and Lightspeed magazine. You also have to have a disciplined work schedule; that’s crucial. My artist mother had very good work habits. Working long hours every day seemed like the thing to do because I’d grown up with it.

And following up on that, knowing what you do now, what would you do differently?

I worked on my own a lot. Most of my peers when I was young were visual and new media artists and musicians. I only knew one other hard working short fiction writer when I began to publish in anthologies and magazines. I also didn’t go to workshops at the start—that came a bit later—there weren’t really any, or if there were, I didn’t learn of them. This was pre-internet. Now I see emerging writers of any age receiving huge amounts of support in their critique groups and their short story workshops—some of which I teach. On the other hand, authors have told me of really bad advice they’ve received in their writers’ groups. Even pros can give you terrible advice if they don’t ‘get’ you—advice that if followed can cost years. Discernment is really important when it comes to sifting through everything people tell you. How does one acquire it? And the advantage of working alone is that you get to  explore without someone looking over your shoulder—even an insightful, well-meaning person can be a distraction when you’re just learning how to swim—to use an image from my story.

Now that you’ve broken in, is it like or unlike what you expected? How?

When I was young I had the idea I could make a good living, but that was the folly of youth. Jan Thornhill, one of my best friends, supports herself and her husband as  a best-selling children’s science author, but she’s the only person I’m close to who is living the fantasy of success so many aspiring writers subscribe to. Only a handful of Canadian authors pull it off. I try not to be curmudgeonly because to earn even part of one’s living from writing and writing related activities is a blessing, but writing and publishing in Canada are still hierarchical. I read widely including for national juried contests, and I see what’s out there. A major house doesn’t guarantee better books, but it can mean better sales. My books have received great reviews internationally and been endorsed by incredible authors, but they’ve been released by Canadian and British small and medium sized presses. A lot of people only want to read from best seller lists, and they’re selling themselves short. Read small press authors! You’ll be inspired by the diversity. It has been harder to get published if you’re indigenous, a person of colour, LGBTQ. We’re starting to see greater inclusiveness, long overdue. And there’s been an explosion of brilliant indigenous speculative fiction in Canada, much of it published as “mainstream.”

What are you working on now?

I’m working on a portal fantasy that grew out of an unpublished short story titled The Lonely Planet Guide to Other Dimensions. It’s about a hotel on an arid peninsula by the sea. The main characters live in depopulated villages nearby, in  the mysterious city to the north, or on  Earth—in Ontario—and all come to stay at the hotel for different reasons. I’m a pantser so I prefer stories to be emergent—and what I’m noticing  is that Rachel, who visits from Earth via a dimensional portal, has an easier time fitting in than Esme,  who came from the north by bus. I’m not sure why that is but in one way that’s the best place to be—you keep writing to learn about these people’s lives. I’m also working on a memoir about a year I spent as a penniless teen living in backwoods Hawai’i following a shipwreck.

How can people keep up with you online?

My website is I’m on twitter, Goodreads and FB under my own name. No tumblr or Instagram. You have to stop somewhere.

Thanks very much to Ursula for the interview! And man, “…a year I spent as a penniless teen living in backwoods Hawai’i following a shipwreck.” How much do I want to read that memoir?!

I also look forward to reading Ursula’s story in Nevertheless”\ (Tesseracts Twenty-One)

Which is no longer merely available for pre-order. It’s available now as an ebook from Amazon.

Coming up next on the blog: Nevertheless contributor James Bambury shares his experiences Breaking In!

Breaking In: Interview with Michael Reid

Welcome to the latest instalment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m very happy to have the opportunity to interview someone I want to call a triple threat, except that everything on his CV is awesome and beneficial – astronomer, educator, and author Michael Reid.

As he notes on his website, Michael write science fiction and fantasy in various permutations, with stories published in a number of prestigious venues. He attended the Clarion Science Fiction and Fantasy Writers’ Workshop in 2015. He’s also an Associate Professor in the Department of Astronomy and Astrophysics at the University of Toronto, and serves as Coordinator of Public Outreach and Education for the University’s Dunlap Institute for Astronomy and Astrophysics.

His short story ‘The Rosedale House’ will appear in the forthcoming anthology Nevertheless (Tesseracts Twenty-One), and, yes, that means he’s a fellow contributor, which warrants my usual disclaimer.


[SGM] Welcome to the blog, Michael! To begin, when did you feel like you’d broken in as a writer?

[MR] Thanks for having me!

I think the obvious choice for a new writer’s breakthrough moment is that first acceptance letter from an editor. For me, though, I feel it came earlier: it was my acceptance letter to the Clarion workshop. That was the first positive response I’d ever gotten to my writing from someone who had no reason to be nice to me. I had sent my work out to some magazines before that and received only rejections. Getting into Clarion was the time I felt like maybe people might someday want to read what I was writing.

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

I wrote seriously for a solid decade as a purely solitary activity. Sometimes I would show snippets to my husband and one trusted friend, but I didn’t send my stories out to editors. I tried joining a few in-person writers’ groups but they were always full. In 2012, I was one of the inaugural members of a new group. We met for three years. The group gave me valuable feedback and helped me grow as a writer. I started to get comfortable having strangers read my work. But, while my craft was developing, I felt totally ignorant of the publishing industry and was really craving the mentorship of a published writer. I was also in my late thirties and was starting to feel like I had floundered for way too long. So I applied to Clarion. That was one of the best decisions of my life. In the summer of 2015, I took six weeks leave from work, left my poor husband and dog behind, and headed to San Diego.

Clarion was amazing. It’s something I would recommend to almost anyone who wants to write speculative fiction. It’s life-changing. You get paired with seven professional writers and seventeen classmates for six weeks. They lock you in a dormitory to write and critique until your brain melts. I still remember landing at the airport in San Diego and meeting Jess Barber and adrienne maree brown in the arrivals area. They are both awe-inspiringly impressive people, crackling with energy and intelligence and creativity. One of Jess’ stories had already been selected by Gardner Dozois for the Year’s Best anthology and adrienne had just co-edited Octavia’s Brood, an anthology of work inspired by Octavia Butler. And these were my classmates. You can’t imagine how excited I was.

Clarion gave me a huge boost. It taught me about craft and markets. It gave me a lot of confidence. It made me seventeen friends most of whom I still chat with every single day about some aspect of my writing. It wasn’t too long after finishing Clarion that I started getting published.

And following up on that, knowing what you do now, what would you do differently?

I wish I’d shared my work with others much earlier. Like a lot of unpublished authors, I sat on my stories for too long, hoping that somehow, if I wrote enough of them, I would pass some critical threshold and publishing magic would happen. If I could do it over again, I would have sent my work out for critiques years earlier.

There’s a tool I’d like to recommend: It’s an online critique service–you critique other peoples’ stories to earn credits that you can redeem for critiques of your own work. I used it for a while and found it really helpful. Seeing how strangers react to your work can be very valuable. With Critters, you usually get a decent number of critiques, so you get a fairly balanced view of the responses your work is eliciting. It’s great for shy people, or those who don’t have access to an in-person writing group. You can work at your own pace. It’s also really helpful because it makes you think carefully about other peoples’ stories, which teaches you lessons about craft that you can apply in your own writing. I wish I’d started using it much sooner.

Now that you’ve broken in, is it like or unlike what you expected? How?

When I was a teenager, I thought I would be churning out a novel a year by the time I was in my late twenties. That didn’t happen. But even as I started publishing in my late thirties, I expected there would be this exponential takeoff in my literary output. That also hasn’t happened. It turns out that maintaining a demanding day job and a writing practice is just hard. I also thought that once I started getting published in professional markets (by the SFWA definition of “professional”) that I would probably have an easier time continuing to get published in those markets. That also hasn’t turned out to be true. So I’ve had to change the way I think about my goals. Rather than expecting any particular outcome, I focus on steady application of effort. I get up very early every morning and write before work. That’s how I measure my success: did I put in the effort and did I generate something satisfying? That’s all I can really control, so I try not to worry too much about the rest.

What are you working on now?

I’m on the third draft of a slipstream novel. You could call it a ‘queer cosmological fantasy’. My friend Vanessa Len, who is a savant when it comes to both craft and self-motivation, always encourages me to write the stories I want to read, so that’s what I’m doing. I’m not sure anyone will publish it, but here’s hoping.

Between revisions of the novel, while I’m letting it ‘rest’, I work on short stories, and on keeping all the completed ones out in front of slush readers and editors.

How can people keep up with you online?

My website is and I’m @writereid on Twitter.

Thanks so much to Michael for the interview. Ironically, despite both being science fiction writers who work at the same university and are being published in the same anthology, we have yet to meet in person. We should change that, sometime soon.

On the subject of that anthology, can you all stand another reminder that Nevertheless (Tesseracts Twenty-One) is available for pre-order?

Breaking In: Interview with Dorianne Emmerton

Welcome to the latest instalment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m very happy to have the opportunity to interview an author, playwright and reviewer whose interests, output and prodigious talent spans a tremendous range of genres and forms, Dorianne Emmerton.

As she notes on her website, Dorianne writes literary short stories, plays, screenplays, erotic short fiction, and sometimes non-fiction too. She grew up in small town northern Ontario and via a number of baby steps she managed to fulfill her goal of living in Toronto in an apartment with a deck and a cat. One of those baby steps was a degree in Theatre and Drama Studies/Diploma in Acting from University of Toronto Erindale Campus/Sheridan College, which is to say she spent some time living in Mississauga. The suburbs do not suit her. However this background also speaks to her love of theatre and she manages her current habit by reviewing for Mooney On Theatre.

Most recently, her short story ‘Mating Habits of the Late-Adopting Smoker’ appeared in Ink Stains Volume 7: Decay.

Decay. The word inspires images of mold-encrusted carpets in abandoned hotels, forgotten toys in the rain, and rusting roller coasters. Those who call themselves urban explorers are obsessed with it, perhaps because of its profound sense of sadness. If we are still and listen, we can hear the whispers of a brighter past. This pervasive ghost doesn’t only haunt the physical world; it invades our bodies, minds, relationships, and societies. It is inevitable; we are helpless to stop it.

 In these stories, one man is suddenly stalked by the same hooded figure that pursued his terminally ill father, while another stalks the world’s evil at great cost to himself. A woman who has recently picked up smoking undergoes a monstrous transformation, another reels when she sees her boyfriend for what he truly is, and North Pole elves experience heartbreak for the first time. There are more: fifteen tales in all by authors Elizabeth Allen, Kaitlyn Downing, Dorianne Emmerton, Bri Faythe, Jackie Logsted, Robert Mayette, Megan Neumann, Pablo Patiño, Daniel Pearlman, Christopher Petersen, Travis D. Roberson, Heather Sullivan, Page Sonnet Sullivan, Mary Thorson, Taro Turner, and Rhonda Zimlich.

 These are the things we lose; we die a little each day.

 Some of us just more quickly than others.

This is one of my Breaking In posts focusing on a fellow contributor to the forthcoming anthology Nevertheless (Tesseracts Twenty-One). Dorianne and I have also known one another for several years, have a bunch of mutuals, hang out on occasion (though not often enough), and I consider her a friend. So, you know: Biased.


Inkstains Volume 7: Decay


[SGM] Welcome to the blog, Dorianne! To begin, when did you feel like you’d broken in as a writer?

[DE] At some future point when I have a published novel. I know you asked the question in the past tense, but we’re SF writers, we have flexibility with time, right?

Otherwise, this year has been pretty good: two different short story publications, after a long time of none. My novel, and a novella before that, sucked up all of my writing time and I neglected short story submissions. (And by “neglected” I don’t mean I didn’t do them, I just didn’t do them in the massive quantity as previously.)

WAITAMINUTE. In 2015 I did nineteen submissions and in 2016 I did eighteen, with no acceptances in those years. In 2017 I only did eleven, but three were accepted! (Two short story publications and a short play production.)

WAITAMINUTE LONGER, both my short stories published in 2018 were submitted on the same day in 2017! I’m not sure what to do with this information, since I’m not superstitious, but maybe I’ll run some fancier analyses with my submission spreadsheet. I do love a good pivot table.


Author Dorianne Emmerton, photo by Zoë Gemelli

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

My strategy was

  • Spend many years trying to write serious CanLit type stories, publish very few, and keep finding myself sliding into weirdness of some sort;
  • Consider writing SF but erring on the side of “I’m not imaginative enough to create whole new realities”;
  • Get propositioned by friends to write a cyborg story, love doing it, never sell it, but decide I can write SF after all;
  • Discover that my novel’s rough first draft benefits from the sparks of weirdness developing into speculative horror;
  • Sell a couple of SF stories, including to Tesseracts Twenty-One: Nevertheless;
  • Sell all my remaining stories, including the far future, genderqueering, polyamorous space opera cyborg novella;
  • Sell my novel for enough money that I can afford to take a year off just to write;
  • Win many awards and top the best seller lists;
  • Write more things.

The last four are currently aspirational but as I said at the start, I’m happy to write about the future in other tenses.

(I think I’m supposed to get an agent in there somewhere, but I’m not sure where it fits and also it’s pretty intimidating.


And following up on that, knowing what you do now, what would you do differently?

Screw writing stuff that doesn’t have ghosts, or aliens, or monsters, or magic, or sentient malevolent trees. What good has reality ever done anyone anyway?

Now that you’ve broken in, is it like or unlike what you expected? How?

You’re interviewing me – that’s unexpected. I now feel like I’m good enough to target markets that pay SFWA rates, and I’ve stopped submitting to places that pay in “exposure”, but I expected, or at least hoped, for that. Otherwise, I still just try to write twice a week and not be a terrible parent/office worker/person.

What are you working on now?

My novel. That’s the sentient malevolent trees thing. I also wrote a YA portal fantasy short story that I’m shopping around. Still trying to get someone to like my cyborgs.

How can people keep up with you online?

@headonist on twitter, but you’re just as likely to find political outrage as writerly stuff on there., which I occasionally remember to update.

Thank you to Dorianne for the interview! I’m very much looking forward to reading her story in Nevertheless (Tesseracts Twenty-One).

Yes, even though we know each other in Real Life, I haven’t read her story yet! I only know that she refers to ‘Inside the Spiral’, as a genderqueering, sex magickal romp, which for the record, sounds like the sort of story I strongly approve of.

Oh. Yeah. Nevertheless (Tesseracts Twenty-One). Wasn’t it available for pre-order, or something?

Coming up next on the blog: Nevertheless contributor Michael Reid shares his experiences Breaking In.

Breaking In: Interview with R. W. Hodgson

Welcome to the latest installment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Most of my interviews are with writers who are a lot farther along their career tracks than I am, with many published short stories and/or multiple novels under their belts. But I believe very strongly that every writer is on a journey, and that we can learn something from them no matter what point in that journey they’re on.

So I’m very pleased to be able to interview a writer at a comparatively an early stage of her career, whose first short story saw publication on August 14 – author R. W. Hodgson.

In her Twitter bio, R. W. describes herself as a “very part-time writer of fantasy, scifi, and sometimes historical” fiction. Her short story ‘Aitvaras’, which features post-World War II Lithuania and a fiery chicken, was that August 14 prose fiction debut – congratulations! It appears in the anthology FIRE: DEMONS, DRAGONS & DJINNS, from Tyche Books.

The ability for people to control (to some extent at least) fire has long been held as one of the major events that contributed to human evolution, but when fire eludes or escapes our control it is also one of the most destructive forces on earth. Associated with passion, power, transformation and purification, fire is a ferocious element with an unquenchable appetite.

Discover the power of Fire and the creatures that thrive on it in these twenty-one stories, including: the true inspiration behind Jim Morrison’s songs; a special weapon used in World War II; the secret in the depths of a mortuary furnace; a fantastical card game; and a necromancer out on what may be his last job.

Featuring: Blake Jessop; Kevin Cockle; Lizbeth Ashton; Dusty Thorne; V.F. LeSann; K.T. Ivanrest; Hal J. Friesen; Laura VanArendonk Baugh; Krista D. Ball; Mara Malins; Claude Lalumière; Susan MacGregor; JB Riley; Damascus Mincemeyer; Heather M. O’Connor; Gabrielle Harbowy; R. W. Hodgson; Chadwick Ginther; Wendy Nikel; Annie Neugebauer; and J.G. Formato.

This is one of my Breaking In posts focusing on a fellow contributor to the forthcoming anthology Nevertheless (Tesseracts Twenty-One). Consider yourself warned about my Nefarious Hidden Agenda!

Fire Cover


[SGM] Welcome to the blog, R. W.! To begin, when did you feel like you’d broken in as a writer?

[RWH] Hey! Thanks for having me!

I’m just on the cusp of breaking in as a writer with two stories under my belt. On the other hand, I feel like I’m the type of person that could have a best seller and still not feel like I’d broken in.

R W Hodgson

Author R. W. Hodgson

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

This wasn’t a matter of strategy but of passion. I write because I love it and I haven’t approached it as a goal-orientated process. I submit for my own enjoyment, when I have an idea that strikes me.

And following up on that, knowing what you do now, what would you do differently?

I wouldn’t do much different, aside from go easier on myself. I have a near-magic ability to make things stressful.

Now that you’ve broken in, is it like or unlike what you expected? How?

It’s a bit overwhelming. The sense of vulnerability one gets from having one’s work in the wide world is new and fresh for me, but it’s been very exciting too.

What are you working on now?

Despite being primarily a sci-fi and fantasy writer I’ve written a historical novel about Nova Scotia with privateers and I’m going to try to query it. And I’m working on a short historical fantasy set in a gold mine.


How can people keep up with you online?

Follow me on Twitter @RW_Hodgson and my Amazon author page

Thank you so much to R. W. for the interview!

Remember, in addition to ‘Aitvaras’, you can read her short story ‘A Walk In The Woods’ (and, ahem, my short story ‘Green Leaves Don’t Fall’) in Nevertheless (Tesseracts Twenty-One) which in a remarkable coincidence, is available for pre-order now.

Coming up next on the blog: More Nevertheless contributors share their Breaking In stories.

Breaking In: Interview with Jerri Jerreat

Welcome to the latest installment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m happy to have the chance to interview a writer, traveler, and canoe enthusiast who I’m very pleased to be sharing a Table of Contents with – author Jerri Jerreat.

As she notes on her website, Jerri writes both fiction and non-fiction. Her fiction has appeared in The New Quarterly, The Antigonish Review, The Dalhousie Review, Room, Canadian Storyteller and Fireweed. Her story “Camping with City Boy”, set in a greener future, is now available on Amazon in the anthology Glass and Gardens: Solarpunk Summers from World Weaver Press (June 2018)! Jerri is an Ontario paddler who has lived in St. Catharines, Vancouver, Ottawa, Victoria, and in Tübingen, Germany. She now lives on an ancient limestone seabed with her family near Kingston, Ontario.

Glass and Gardens: Solarpunk Summers

Solarpunk is a type of optimistic science fiction that imagines a future founded on renewable energies. The seventeen stories in this volume are not dull utopias—they grapple with real issues such as the future and ethics of our food sources, the connection between technology and nature, and the interpersonal conflicts that arise no matter how peaceful the world is. In these pages you’ll find a guerilla art installation in Milan, a murder mystery set in a weather manipulation facility, and a world where you are judged by the glow of your solar nanite implants. From an opal mine in Australia to the seed vault at Svalbard, from a wheat farm in Kansas to a crocodile ranch in Malaysia, these are stories of adaptation, ingenuity, and optimism for the future of our world and others. For readers who are tired of dystopias and apocalypses, these visions of a brighter future will be a breath of fresh air.

Jerri seems to have a knack for optimistic speculative fiction, because she’s also a fellow contributor to Nevertheless (Tesseracts Twenty-One). Which means, of course, that once again I’m Not Entirely Unbiased here.

Glass and Gardens Cover

Glass and Gardens: Solarpunk Summers, published by World Weaver Press

[SGM] Welcome to the blog, Jerri! To begin, when did you feel like you’d broken in as a writer?

(JJ) I felt, absolutely, that I had become a professional writer when I was nine years old, reading my rhyming couplets to each family member. They clapped and praised me, but I didn’t need outside validation; I knew my writing was brilliant.

To tell the truth, I haven’t felt that again. However, I love writing, and I work hard on my craft. As well, I have a soft rule that every time a story is rejected I read it over once, edit if needed, then I send it out within 48 hours. Having a lot of stories out there, searching for a market, makes me feel that I am, indeed, part of that doubtful shady business of writing.

Jerri Jerreat

Author Jerri Jerreat

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

Wouldn’t it be wonderful if there was a straight path toward your writing becoming frequently published? Hah. I began by studying journalism at Carleton University and envisioned a ladder tilted at 60 degrees toward a Nobel Prize. However, that first year only convinced me that journalism, for me, was killing the fun in writing. I switched to English and History. I read copiously,  worked a variety of jobs, travelled across Canada, did volunteer work in West Bengal, canoed every summer. I absorbed. I lived.

One year I decided to Grow Up. I would become either a Writer or a Medical Doctor. When McMaster refused me, (a good story there), I packed up and went to Vancouver. Plunged full-time into Creative Writing courses. I learned a lot, and not just how to squeeze a fresh avocado onto a customer’s sandwich with sprouts, (hey, that was just crazy stuff, coming from Ontario). I improved my grammar, tried different styles and genres. I listened to criticism.

Later on, small children at home, I tried writing pieces about parenting. The first that sold fixed our chimney. The second bought me a wooden cabinet for all the children’s art and building equipment.

I began to teach writing, also slunk out for an hour here and there to write in a library. I grew wise: set aside my novels and focused on short stories. They’re hard! It is merely the peak of a mountain, with, instead of twenty chapters to lead up to it, only a few paragraphs.

Thus, zigzagging through life, writing whenever possible, was my only strategy.


And following up on that, knowing what you do now, what would you do differently?

I should have read short stories. Explored them. Written them. I would still take several writing courses with a variety of instructors at a college or university, and study a serious grammar book.  Writing short stories is polishing my writing today. I am still working on a novel or two at any given time, but stories are where I learn everything. I’ve also noticed that some of the finest writers were poets first, so there’s something to mull over. They think in metaphors.

Now that you’ve broken in, is it like or unlike what you expected? How?

I love writing. Period. I steal time for it, which is far easier now that the wonderful kids have grown up. I have more modest expectations that I did at nine or twenty.  Each story acceptance is delightful, but I realize now I’m in it for me, for the joy of writing, and for hoping to touch someone, to make them think, or feel.

I hadn’t expected the business side of researching markets, reading a wide variety of journals and magazines, etc. would take up as much time as it does. It’s fine though. I no longer bite my nails and worry about each darling story. I begin another story.

What are you working on now?

I heard a story while living in Tübingen of a zoo which burned down during the war. Farmers claimed to have seen a tiger or bear twenty years later. This has inspired a novel with copious research, and deep tendrils into my dream mind. I’ve broken it up and am rearranging the pieces in a more interesting way, learning more as I play with it. I also have a sci-fi novel mapped out across my wall and half written. These are fun projects to keep returning to.

Stories, though? I find a good place, a café or my back yard, and I write for an hour from a random image or word. It’s playing. Imagining. I do this a couple of times a week or more, and from that nebula, a new story sometimes emerges.

How can people keep up with you online?

My website is . Email me through the site! I hope readers enjoy the stories!

Thank you to Jerri for the interview! I know that for my part, I always appreciate being reminded that I should refrain from biting my nails and worrying. “I begin another story.” That’s good advice.

I look forward to reading Jerri’s story in Nevertheless (Tesseracts Twenty-One), which, I will optimistically remind you, is available for pre-order at this very moment!

Coming up next on the blog: A Breaking In interview with Nevertheless contributor Buzz Lanthier-Rogers!

Breaking In: Interview with Ryan Henson Creighton [UPDATED]

Welcome to the latest instalment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m thrilled to have the opportunity to interview a writer whose online bio refers to him as a “creative force of nature”, and honestly I’m pretty sure that’s an understatement – author Ryan Henson Creighton.

As he notes on his website, Ryan Henson Creighton’s career has encompassed writing, puzzle design, video game development, theatre, stand-up comedy, marketing, and advertising. A TEDxToronto speaker and author of Unity 4.x Game Development by Example (3rd edition), Ryan is prolific and outspoken, with an uncanny knack for teaching anything to anyone, by blending humour and storytelling with contagious passion.

Many of his short stories, poems and essays are collected on his website. His story ‘Hill’ will appear in Nevertheless (Tesseracts Twenty-One), so he’s a fellow contributor and full disclosure and all that.

Update: In the interview below, Ryan makes some references to the social storytelling platform Wattpad. It was clear to me from the context of the interview and his other comments that Ryan was speaking facetiously and did not intend for these points to be taken seriously. However, I later received an email from a member of Wattpad’s staff expressing concern about these “inaccuracies”, characterizing them as “potentially defamatory”, and asking that I “update [my] story and remove these claims immediately.”

Now, I think this response was a bit over the top. As I already noted, it was clear to me that Ryan’s comments about Wattpad were jokes. I took them no more seriously than I took his comments about snorting mountains of cocaine. I believe that any reasonable person reading the interview would draw the same conclusions.

However, in the interest of fairness and accuracy, and being a good neighbour — Wattpad being a Toronto-based company, after all — I am pleased to update this post to include the following points of clarification:

  • The representative of Wattpad noted that “The minimum age to access Wattpad is 13 years old and ALL pornography is against our terms of service.” and that to suggest otherwise is “grossly inaccurate.”
  • It was also clearly stated to me that “Copyrighted material is prohibited on Wattpad without the express permission of the rights-holder.” and that therefore, any other claim is also “inaccurate”.

I believe these clarifications to be true and accurate statements of Wattpad’s actual policies and practices, partly because I take them at their word, partly because there is no evidence I’m aware of to the contrary, and mostly because it was very obvious to me that Ryan was kidding.




[SGM] Welcome to the blog, Ryan! To begin, when did you feel like you’d broken in as a writer?

[RHC] Feels like it hasn’t happened yet! Increasingly, my writing has enabled me to earn a living, which is wonderful. But i think there a few high water marks many writers (myself included) would point to and say “there – i’ve made it!” Here are a few of mine:

  • A publisher approaches me (instead of the other way around!) and commissions a piece of fiction. It has to be fiction, though. If i get called upon by name to write a home appliance manual or the nutritional information panel on a candy wrapper, it won’t count.
  • i meet a stranger at a party and mention i’m a writer (and i don’t feel the slightest twinge of dishonest guilt while saying it). The stranger says “Oh – anything i’ve heard of?” and i say, demurely, “Mmmm… maybe a little something called [title of the thing]!” and the person says “Yyyyyeah…. i think i’ve heard of that?” Then i feel quite good for a short while. But later, near the bowl of nachos, the person introduces me to someone else as the author of [vaguely similarly titled thing], and i have to say “No, no, no… that wasn’t mine. No, i wrote [title of the thing],” and then the person apologizes and everyone just stares at their feet in awkward silence until it’s finally time to smash the piñata.
  • When the birthday boy gets in a good strong hit, and the piñata breaks open and candy goes flying everywhere, and people pick it up and start absent-mindedly reading the nutritional information panel on the side, and then they start laughing and weeping for the sheer, shocking poetry of it all, and i sit back and fold my arms satisfactorily and say “Yeah. That
Ryan Henson Creighton

Author Ryan Henson Creighton

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

With ‘Hill’ in particular, i had the itch to write some fiction. i discovered a terrific (and, sadly, now defunct) site called Cathy’s Comps and Calls, where the author (presumably Cathy?) would compile a list of calls for submissions and various monthly contests. In conjunction with that, i found a great online tool called The Submission Grinder, where writers can track their submissions to various publications, because it can get a little hairy. i tracked my submissions separately in a private spreadsheet as well, because you never know when a site can just vanish (i’M LOOKING AT YOU, CATHY), but the advantage of using The Submission Grinder is that it displays stats from all the other writers who use it. So if you’re thinking “Why hasn’t [publication] accepted my amazing story about two turtles who win the Nobel prize?” you can look at The Submission Grinder and see that [publication] hasn’t written to anyone who submitted to them since their last call, and has maybe only accepted one story this year.

The submission process should really be called the rejection process. Seeing how other writers were faring kept me from feeling too kicked around.

That said, ‘Hill’ was the third short work of fiction that i wrote during that period last summer, and it was accepted for publication, so i can’t exactly claim i’m hard done by.

And following up on that, knowing what you do now, what would you do differently?

Being very new to the game, i’m honestly not certain that answering these calls for submissions is the best way to break in. i would have to do more research, and see the trajectories of some (actually) successful writers. Many of these publications (but not Tesseracts!) are very exacting about their submission process,  and they have all these hoops they want you to jump through, and when you get to the bottom of the page, the remuneration is something like five dollars. i can’t quite see if there’s a path from hobbyist to career fiction writer in this corner of the market, but i’m exploring various roads-less-taken. See below!

Now that you’ve broken in, is it like or unlike what you expected? How?

i’d say the mountains of cocaine are a lot larger than i expected, but keeping two pet cheetahs in studded collars really only seems like a good idea when you think of it, because you were super high when you thought of it. Because… because of the cocaine.

What are you working on now?

i’m under NDA with a video game company. A partner and i are writing puzzles for their live community events through my puzzle design company, LockQuest.

i applied for a role at a start-up company called Wattpad. Their elevator pitch is that they’re the Youtube of writing, but i took a look around, and their elevator pitch should be “12-year-olds writing pornography for 12-year-olds.” However, it’s difficult to secure millions of dollars in series B financing with that pitch. They have too much investment money to not succeed, but as of now, the site is the wildest of wild wests.

The writing on Wattpad is very, very bad. i read a bunch of it, and had a terrific time doing it, but man… it’s quite a place. i do quite enjoy the site because everyone is just doing whatever they want and there are no rules, man… like spelling or grammar… or plot structure… or halfway believable characterization… or observance of copyright… and that’s kind of freeing. Instead of burning energy submitting to all these other publications (but not Tesseracts!) for five dollars a pop, trying to convince the editors that i’m the best of the best, i thought: why don’t i goof off on Wattpad for a while and try to be the best of the worst?

So to that end, i invite you to enjoy my new Wattpad novel ‘The Sevens’, which is about a cat who enters a junior high rap battle. It may be my most important work.

How can people keep up with you online?

Are you into board games? i have a YouTube channel called Nights Around a Table. (If you don’t know, YouTube is like the YouTube of YouTube).  While my personal site isn’t updated often, it does contain the most important information about my life, including fast food make-alike recipes for the Instant Pot, and reasons why porn has prevented me from buying a nice carpet.

Am i talking about porn too much? i am. i shouldn’t be. That’s tacky. Apologies. Let’s keep this interview to material we all can enjoy.

Now pardon me… i have to go snort the mountain of cocaine i purchased with proceeds from the sale of my short stories to various publications (but not Tesseracts!)

Thank you to Ryan for the interview! Having had the opportunity now to learn more about him and his wildly diverse creative output, I’m really looking forward to reading his story in Nevertheless (Tesseracts Twenty-One)!

Which, ahem, you know, just happens to be available for pre-order at this very moment.

Coming up next on the blog: Nevertheless contributor Jerri Jerreat shares a Breaking In story!


Breaking In: Interview with Natalia Yanchak

Welcome to the latest instalment of Breaking In, where I interview authors about their experiences breaking in as writers — how they did it, what it felt like to get there, and how it differed from what they were expecting.

Today I’m delighted to have the opportunity to interview a speculative fiction author who is also an actual freaking rock star, writer and musician Natalia Yanchak.

As she notes on her website, Natalia was born and raised in Toronto, and moved to Montreal, QC in 1994 to attend Concordia University’s Creative Writing program. After graduation, she immediately began touring and performing internationally as a musician. An unofficial delegate for Canadian culture, she worked with her band, The Dears, to help shine the spotlight on the Montreal music scene through the 00s.

She has written and produced content for VICE, CBC, Huffington Post Canada, and Cult Montreal. Her fiction has appeared in Matrix Magazine, Tesseracts 21 and Selected Poems by Indie Rock Stars and she has self-published a number of speculative short stories and flash fiction pieces, which are available online.

Natalia lives in Montreal with her husband, two children, and two cats.

This is a Breaking In post that focuses on a fellow contributor to the forthcoming anthology Nevertheless (Tesseracts Twenty-One). Please therefore accept my now-standard disclaimer of having some slight degree of bias.

Nevertheless (Tesseracts Twenty-One) is a collection of optimistic speculative fiction stories, each optimistic in a slightly different way. These stories explore the optimism that drives us to seek out new worlds, that inspires us to sacrifice for others or fuels us to just keep going when everything seems lost and in so doing turn the idea upside down and inside out.

One of the best reasons for doing an anthology of optimistic futures this year was because no matter which side of the political or social spectrum you land on, it’s been a tough year. Nevertheless we try to remain optimistic. Nevertheless, we don’t give up. Nevertheless, yes, we persist. The stories in this anthology of optimistic SF are some of the darkest optimistic stories you’ll ever read but, nevertheless, they are optimistic. And powerful.

Featuring stories and poems by: James Bambury, Meghan Bell, Gavin Bradley, Ryan Henson Creighton, Darrel Duckworth, Dorianne Emmerton, Pat Flewwelling, Stephen Geigen-Miller, Jason M. Harley, Kate Heartfield, R. W. Hodgson, Jerri Jerreat, Jason Lane, Buzz Lanthier-Rogers, Alison McBain, Michael Milne, Fiona Moore, Ursula Pflug, Michael Reid, S. L. Saboviec, Lisa Timpf, Leslie Van Zwol, Natalia Yanchak.



[SGM] Welcome to the blog, Natalia! To begin, when did you feel like you’d broken in as a writer? How did that contrast with when and how you felt like you’d broken in as a musician?

[NY] As a writer, I feel I have a long way to go.  It’s a true honour to be published in Nevertheless, but I know it is just one step forward, the first of many. I get the impression that the phenomenon of “breaking in” is a long, slow never-ending process. I haven’t met a single author (or musician) who is so satisfied with what they’ve accomplished that they feel good about resting on their laurels. There are no laurels, it seems, in the art-making world!

N_Yanchak_lo-res_2018_by_Richmond_Lam (1)

Author Natalia Yanchak, photo by Richmond Lam

What was your path to breaking in? Did you have a strategy? Did it work, or did you end up getting there another way?

[NY] The first part was challenging myself to the work — seeing if I could return to fiction. I’d been blogging, doing some journalism and writing press releases for the past decade, putting my bachelor’s degree into some use, but I hadn’t written any fiction since I graduated. I started small, some flash fiction and fairly short stories (that I self-published), then practiced listening to the work I was creating, letting go of scenes I may have been emotionally attached to and replacing those with something more meaningful — which is a skill acquired from making music for so long.  The rest is just hustling: perseverance, confidence and the belief that my perspective and voice matters. I also take some inspiration from The Lonely Island quote: “Never stop never stopping,” but, also, knowing when to stop.

And following up on that, knowing what you do now, what would you do differently?

[NY] I wouldn’t do much differently: so much of our path in life (including striking a chord with an editor, publisher or agent) is circumstantial, a right place right time vibe. I try to stay positive and have fun with my work.

Now that you’ve broken in, is it like or unlike what you expected? How?

[NY] I’ll feel good about it when I publish my first book! But this question did make me think of a song by my art-rock band. A track that starts with a nerve-racking Doors-esque military march before falling into a bubbily orchestral Steve Miller Band mist. It kind of sums up my expectations.


What are you working on now?

My second novel, a post-climate change spy-fi thriller, possibly with dragons and a main character loosely based on Canada’s current Prime Minister, the Rt. Hon. Justin Trudeau.

How can people keep up with you online?

I have all the internets, though I’m most likely to update my Facebook page with news:

Thank you so much to Natalia for the interview! And can I just say how down I am with a post-climate-change spy-fi thriller, with or without dragons and/or the Right Honourable Justin Trudeau? Seriously: Sold!

And just as a reminder – because I am going to be unstinting in reminding you of this – Nevertheless (Tesseracts Twenty-One) is available for pre-order now.

Coming up next on the blog: Nevertheless contributor Ryan Henson Creighton shares his Breaking In story.