As writers, they are what we see when we close our eyes. They are our tools, our materials and our finished products. They have tremendous power over us. They can persuade, entertain, teach, inform, seduce, anger or sadden us. They lead us into our nightly dreams, and they greet us each morning as they march into our newly-awakened consciousness.

Author Janet Fitch (White Oleander, Paint it Black) once revealed in an interview that before sitting down to write she first reads passages from her favourite poetry. Doing so prepares her mind for the elegant flow of prose that is found in her books. Her skilful use of the words themselves is a testament to her love of them.

Many writers struggle with the modern reader's expectations. How do we know whether we are saying too much or too little? Readers today have no patience for detailed description, long, eloquent passages that become redundant and insult their imaginations by leaving nothing undefined. And yet the educated reader still longs to see something of the art in our words. He wants to be elevated by the imagery as it unfolds.

A well-chosen phrase in the hands of a confident writer is like a bow and arrow in the hands of a skilled archer. One does not want to overshoot the mark with sloppy or flowery words. Nor does one wish to fall short and leave the reader wondering what the heck is going on. What we seek most ardently as writers is the ability to say exactly what we mean, in a manner that allows our stories to move forward while delighting our readers with some sense of our personal flair.

The goal then becomes two-fold as a writer of fiction: to use the language with precision, saying what we mean, and to also seek out subjects that will have 'meaning' to the reader. It is not enough to say what we mean, if what we mean is meaningless. As writers, people rely on us to broaden our perspectives, and to present them with ideas that will take them beyond their own existences.

Much is made of the old writers' adage to "write what you know". Today's writer understands that, unless his personal knowledge of the world is already exceptional, he will be expected to leave his comfort zone on a regular basis. On the other hand, we don't want to lie to our readers. That's where research comes in.

I view writing not only as a tool to communicate ideas to the reader, but also as a motive for broadening my own understanding of the world. For me, this is where the real 'art' of writing is accomplished -- in seeking out new ideas to grapple with so that I can present them to the reader with confidence and, I hope, with grace.

A large part of my job as a writer consists of that terrible, wonderful task known as ‘research’. A well-researched story flows with a sense of seamless credibility that makes it oh-so-real to the reader. This is something that I aspire to.

However, I am discovering to my chagrin that research can pose a number of potential pitfalls. One of the hazards that I am encountering on a regular basis is my own tendency to become fascinated with the research subject and to fly off on a personal quest for more information, abandoning my story until the need has been satisfied.

Take the word ‘freedom’ for example. This is one of those really BIG words in the English language, a word that sends the mind into wild flights of fancy. Like the word ‘mother’, the word ‘freedom’ is often only fully appreciated through its absence. In support of my current novel, which is set in China, I set off on a simple quest to gauge the current state of ‘freedom’ within the People’s Republic.

What I found was mind-boggling, mind numbing and mind-blowing.

A case in point is the practice of Internet censorship in China. Wikipedia tells us that it “is conducted under a wide variety of laws and administrative regulations.” Amnesty International reports that a growing number of people are being detained on the grounds of Internet violations, often without access to legal advice or to the comfort of family visits. In some cases, alleged violators have been tortured. All such prisoners are considered by Amnesty International to be Prisoners of Conscience, and demands have accordingly been made for their immediate and unconditional release.

Still 'Big Mama', as the Internet Scrutinisers have been nick-named, toils on, removing new sites/postings/blogs/chat topics with the speed of a caped crusader and ensuring that the silk veil of ignorance will continue to be draped over the eyes of its people.

Topics of particular interest to the Great Firewall of China include:

-Sites that promote or encourage the practices of Falun Gong. (The horrendous
oppression of this group is a whole other story, and one of the themes of my current book.)
-Sites that discuss the Dalai Lama, or his views on the political and religious future of Tibet.
-Any newsgroup or forum that covers the killing of student protesters in Tiananmen Square in 1989.
-Any article that proposes a democratic challenge to the current Communist government.
-Any posting or site that discusses the possibility of new cases of S.A.R.S.
(Sudden Acute Respiratory Syndrome.)

In a recent article in The New Yorker entitled Enemy of the State, writer Zha Jianying tells us about the nine-year incarceration of her brother, Zha Jianguo, for committing the crime of initiating a Democratic Party within the People’s Republic of China. Her description of the events both before and after her brother’s arrest are certain to send a chill down the spine of anyone who lays a claim to the love of freedom.

As a writer I find that the word ‘censorship’ has a particularly jarring sound at the best of times, but when it is used in conjunction with words like ‘torture’, ‘imprisonment’, ‘conscience’, ‘religion’ and ‘democracy’, it cuts me to the quick. My own stories are nothing more than mere mysteries, simple works of fiction. They are meant to entertain and to intrigue the reader. If they happen also to inform, that is a side-benefit.

I am reminded once again that the strangest story of all is indeed the reality we witness on a daily basis.

-Donna Carrick, April 27, 2007

It’s not always easy to explain this occupation of mine.
When people ask about it, I’m tempted to pull out the pat answers, the ones all writers like to give, like “I seem to be blessed with a rich fantasy life” or “Fiction? I thought those voices in my head were real…”

While there is some truth in the obvious answers, (they don’t call them clichés for nothing, folks) I’m not sure they capture the depth and the scope of this passion. I suspect that many writers are far too busy crafting and analysing the motivation behind their characters’ actions to spend much time studying what drives their own.

So, why do we write fiction? Because, if I am truly honest, this is more than just a pastime or a pleasure, it’s an obsession and an undeniable passion. I write because NOT writing is not an option. I write because the characters in my head are real, and their stories must be told. I write because on those long cold nights growing up in Saskatchewan in a family for whom the word ‘dysfunctional’ is a kindness, I read -- and read -- and read. I write because, to me, the world inside the covers of a book possesses a sense of order and justice, even when it is wild and unruly and immoral, and even when the good guys lose, the bad guys get away with it, and the girl ignores the nice guy and ends up with the jerk.

In fiction we are lured by the promise of adventure, conflict and eventual resolution. In particular, as writers of fiction, we can indulge in all of these things and explore aspects of this quasi-reality that we have built without having to be concerned about judgement or consequence. Mystery, travel, sexual freedom and, yes, even murder -- all things are possible in the world of fiction.

I write because there are things about life that I have observed, things I am driven to express based on my own experiences. For as long as I can remember, it has been my aspiration to write.

I do it not because I can, but because I must.

I’ve been inspired recently by a flood of discussion on the Crime Writers of Canada members’ message board (you know who you are…) to take a closer look at the kind of research that goes into making a novel.

In order for a work of fiction to possess the kernel of truth that lifts it into the realm of art, a great deal of slogging, digging, and legwork needs to take place. This is especially true when the novel expresses an historical aspect, or when it is set in a distant land.

Some of my fellow writers here in Canada have been involved in research of the “police procedural” kind. One member has gone so far as to “walk the beat” with an actual constable, while another is busy “digging into the byways of Victorian England”.

As for me, I’ve been studying Mandarin, reading everything I can get my hands on concerning China, including my own journal of our 2003 travels, and learning to play the clarinet. The first draft of the latest Donna Carrick novel is finished and the editing process is well underway. Yet I continue to be fascinated with all facets of life within the People’s Republic.

Where does research end and novel-writing begin? That is a question that seems to plague many of my fellow-writers. I cannot imagine writing a novel that does not involve the exquisite and sometimes painful process of ‘learning’. Such a novel would not satisfy my passion for understanding.

As a result, I’ve followed my latest set of imaginary friends down some twisted roads. The end of the creative journey is almost in sight, yet I am reluctant to say goodbye to my characters. I feel that, through them, my world view has been enlarged.

It is a pleasure to discover that many of my fellow-writers in Canada share my passion for research. I believe that together we will say something of importance to those who follow us about the environment we are living in.

After all, so much of what intrigues us about 'books' is tied to our place and time…

Donna Carrick, July 20, 2007

Well, folks, I have to admit that 'vacation' is nearly my favourite word.

For most of August I've been enjoying a much needed break, not only from my day job, but also from compulsive writing, editing and re-writing. Like this worker in Southern China I've been leaning on my shovel, so to speak, and allowing time to float away in that elusive way it has while I've gotten re-acquainted with family and friends. Alex and I spent several days with the kids at Great Wolf Lodge, which was a splash, and many hours chasing sunspackled waves onto the glistening sands of Georgian Bay.

However, all good things must come to an end. Once more I am feeling the irresistable pull of the printed page. There are so many changes, tugs and tweaks that need to happen before the latest mystery will be ready for publication.

Fall is such an invigorating time of year, don't you agree?

Donna Carrick August 27, 2007 (Feel free to contact me about this or any of my postings.)

Today is the day. I gathered up all of my errant courage, said a quick prayer to the gods of art, and sent off my first agent proposal for the latest manuscript. I know that my family and friends are pulling for me, and I can count on their good energy to help me pass the time till a response comes through.

This is not my favourite part of writing. I'm sure many writers will empathise with me. As long as my darling manuscript is tucked safely and discretely under my wing, it can be my private jewel. Once it is out there floundering on its own in the real world of criticism and neglect, then it becomes little more than a stack of paper with a bunch of words, words, and more words.

It's a good story. I know that the characters are genuine and that the situations are human. I have confidence in the plot and I feel comfortable with the setting.

So what is it that is making my stomach tighten? It's just that, well, it's so darn hard to put it out there. It's almost like sending your child out on his first day of school. What if no one plays with him?

It takes a heck of a lot of work and courage to follow through on your dreams. I guess that's why so many people give up.

Not this girl, baby! Never say Uncle.

Wish me luck, friends....

Donna Carrick, February 3, 2008

In response to questions regarding the creative process, this series of installments entitled "The Writer's Process" will invite the reader to follow me on a journey from the beginning to THE END of my current novel.

As a writer, the question I am most often asked is where I find story ideas.

Maybe it’s a genetic anomaly or some odd gearing as a result of my upbringing, but I have to confess that I have never experienced a shortage of ideas. They are everywhere, in the people I meet, the situations I encounter and the places I see.

The difficulty has never been in garnering ideas. Rather, my greatest challenge lies in sifting and sorting, allowing the chaff to fall from the wheat, so to speak. A writer must be able to separate and discard hundreds of seemingly worthy ideas and hold onto only those that are most unique, most original, and those which possess the strength of vision.

I’ve heard other writers say that they rarely work on only one book at any given time. Most novelists perform a literary juggling act, struggling to polish and market their latest finished manuscript while constructing their current story and simultaneously nurturing fledgling themes and concepts for their next work.

That’s certainly the method I’ve found myself following. In early February I completed the re-writes on my latest mystery. Since then I’ve been continuing to edit while initiating the arduous marketing process. At the same time, I’ve broken ground on the outline for my next book.

Throughout those long months of finishing the last book, as the tale spun itself into something roughly resembling a novel, each twist and turn sparked ideas for my next book. Most of those new ideas had no place in the current story, so I was able to shelve them for future reference.

A few of those ideas survived, possessing sufficient scope to hold my fancy while others did not. It is those ‘surviving’ notions that will lay down the groundwork of the new book.

For me, any new work springs first from a theme. Out of the general theme there will usually arise one or two characters who represent the concepts that I want to express. These characters shape-shift and grow in my mind until I am able to envision them in various circumstances. Then the writing process begins.

I am a fan of outlines, so long as they are not cast in stone. However, for me, every story really begins at the end….

That’s right, I said at the end. After all, the point of every story is to achieve that necessary climax, that resolution, to crescendo to that place of inevitability. In order for me to focus on the tale, I must know how it ends.

Once the ending is in place, I can begin to fashion a loose outline, the ragged path that will take me to that finale.

Naturally, once the process begins, it will trigger new ideas that will hopefully find their way into the next book. And so the creative process continues. This week I started writing the end of my current novel.

Wish me luck!

In response to reader questions, I'd like to take this opportunity to share a few facts about myself. I was born in Chatham, New Brunswick, the second of three daughters. My parents were native Maritimers who called Moncton, NB their home.

My father was a military man who lied about his age to join the Air Force at a time when jobs were even more scarce on Canada's East Coast than they are today. I was privileged to grow up all across Canada, from small town Saskatchewan to Northern Quebec, from Sydney, Nova Scotia, to Toronto, Ontario. Getting to know this country has had a major impact on who I am today. As an Air Force Brat, geography has always been an important aspect of my work. Likewise, being transplanted in a new environment every other year made it necessary for me to become an observer of human behaviour and motivation. This ability is expressed in the compassion that I feel for my characters and the challenges they face.

When my husband Alex and I travelled to Nanning in 2003 to adopt our youngest child, we were in awe of the exotic landscapes of Southeast Asia. The jungle-covered mountains that jutted from the horizon at every turn became the driving force behind the novel Gold and Fishes. Our beautiful 'daughter of China' inspired my current series, featuring Li Fa-ling, a Chinese-Canadian adoptee who returns to the land of her birth to discover her true life calling.

For as long as I can remember, writing has been my passion. I believe that my readers appreciate my integrity, tireless research, and the depth of the multi-faceted characters that I bring to the page. Nowhere is this more evident than in the Li Fa-ling series. The First Excellence invites the reader to share a journey into modern day China. We bear witness to a clash of cultures, the old ways forced to surrender to the 21st Century, as with excruciating pain a new country is born from the ashes of thousands of years of tradition.

My other passion is, without a doubt, my love for my family. I am never happier than when we are all gathered together, my husband, children, our extended family and friends, at our beloved cottage on Georgian Bay. It is there that I feel the full weight of privilege, the joy of belonging to a country that can still claim blue sky, green forests, and a peace that reaches into the centre of your soul.

Of course, the best of both worlds is when time finds me at the cottage with my laptop, working away on my latest novel...

According to today's Globe And Mail report by James Adams, if a writer dares to publish his work will almost cerainly "perish". That's the skinny on today's publishing market in Canada, and it's backed up by dire news on an almost daily basis, including the permanent closure of book fairs in Toronto and a fallout of similar cancelations across the country.

In light of the failing global economy and looming crises within almost every market, it isn't surprising that art in general and literature in particular is having to bite the jagged little bullet once again. It isn't as if Canadian writers were ever in a position to entertain delusions of monetary grandeur based on the successful expression of their craft. In fact, the one mantra almost any writer in this country can and will recite at the drop of a hat is: Write for the love of it, because there ain't no money flowin' down the tube.

With bad news peeking over every hiltop, I find myself looking for that silver lining that will make it all worthwhile -- one nugget of truth that will justify my stubborn determination to keep on writing no matter what. And Hallelujiah!! I think I found it! It came to me this morning, as my family and I were on our way to the skating rink, hoping to find the ice firm enough to support us in the midst of this February thaw.

Freedom! The one thing I love almost as much as my family, that great intangible that has long been the inspiration of so many.

After all, there is something undeniably liberating about being a writer in a market where failure is almost inevitable!

One need not worry about pleasing an agent or a publisher or a patron if one has next to no chance of obtaining such support anyway.

And isn't this what history has shown us in times gone by? When economies fail and artisitic support is non-existent, that is when the greatest art is usually created. It is out of such difficult artistic times that the great ones rise, like John Steinbeck with The Grapes of Wrath, songwriters such as the legendary Woody Guthrie, (for the benefit of all you Boomers out there, Woody is the father of the also legendary Arlo Guthrie), (and to all you generation X'ers, sorry, I can't help you), to name only a couple.

So to heck with worry! I, for one, plan to just keep on writing, keep on trying new twists on my craft, and do whatever I can to make the work better and more relevent to the world we are living in -- right here, right now.

These are, after all, very interesting times... and that is both a curse and a blessing.

Donna Carrick February 7, 2009

Congratulations to my friend and fellow-writer Madeleine Harris-Callway! Her prepublished mystery novel "The Land of Sun & Fun" has just been short-listed for the Debut Dagger award in London, Eng. It's a great read, Mad!

As any writer knows, at any given moment and on any given day there are no less than a million reasons NOT to apply oneself to one’s art. For example: the sun is shining. How can I possibly waste a sunny day, living as I do in a climate where sunny days are at a premium?

Not only that, but the kids need my help with their homework. The dog wants a walk. The laundry is calling me. The housework is, well, what it always is.

We all have these little “roadblocks” in our lives. When people ask me how I find time to write, given family obligations, the demands of a Full Time Job, and my desire for personal hygiene, I’ve always answered: You don’t ‘find’ time to write. You ‘MAKE’ time.

How smug of me! And yet, that mantra has stood me in good stead for quite awhile. Lately, though, the myriad of demands swirling around my peripheral vision have been overwhelming me. I am discovering that a ‘mantra’ alone cannot protect me from those pesky little life-duties that threaten to displace my art entirely.

I should interject at this point that I am an Aries. Yes, that’s right, I’m one of those people – that determined, fearless, continually reborn band of brothers and sisters, sometimes altogether too determined, (some might say stubborn?) (hell, who's kidding whom -- some might say "total pains in the ***) – who, being born in March or April, are 100% convinced that the Spring was invented for their sole gratification and rejuvenation.

While the rest of the Western world focuses its attention on January 1 as the start of the New Year, and while the Asian population counts Chinese New Year as it’s turning point, we Aries-types consider April 1 to be our personal "XIN NIAN". And more: not only is April 1 our New Year, complete with resolutions and plans enough to fill a lifetime, but it is also the day of our annual REBIRTH.

Every Aries man and woman out there knows exactly what I’m talking about. This is the time of year when all of our excuses fly out the window, leaving us holding nothing but our desire to achieve, our competitive spirits and our love of adventure.

So here I stand, nearing the end of this beautiful month of April, and I have to ask myself: Have I taken hold of the moment? Have I begun to spin the wheels of my own resolve? Or am I still making excuses for lethargy?

Recently I reviewed three wonderful books by writers of great talent and resolve: Xinran’s “The Good Women of China”; Vicki Delaney’s "Valley of the Lost”; and Dave Hugelschaffer’s “One Careless Moment”. All three of these writers have something in common beside my respect. They are all driven to see their projects to completion, regardless of criticism, roadblocks, or the slings and arrows of misguided fortune.

As am I. At the moment, I’m undertaking something new, and I admit it’s been off to a slow start. As with most ‘new’ things, my latest project is a little intimidating. You see, I’m working on a mainstream novel at the moment, as opposed to my usual ‘mystery’ genre. I’m reaching outside of my comfort zone, so to speak. And the growing pains are, well, kinda icky…

But enough excuses. We are all, each of us, works in progress, just like my latest novel. It’s all about finding our way from one end of life to the other, and the best we can hope for in between is a very long, very winding road.

So as I set off to work on Chapter 9, let me wish each of you a “Long and Winding Road”….

Look for updates on my “Work In Progress” in the near future.

Best in writing,
Donna Carrick

There comes a time in every writer's life when he or she must ask: has my work become stagnant? Am I churning out more of the same, or are my ideas still fresh?

It's a tough question -- especially for successful writers. After all, who wants to mess with a good thing? When all the feedback is positive, and the fan base is loyal, like it was for Canadian author Giles Blunt with his Cardinal mystery series, why would anyone want to strike out on a new path?

Readers resent change in the same way families do. Every mother has, at some time in her life, wanted to change some personal habit, only to find out her mate or children were very uncomfortable with any tilt to the status quo.

So it is with writers. However, there are many ways to measure "success". It is not merely a factor of readership, or of accolades. Success can also describe the artist's ambition to stretch, to reach new territory, to become more than the sum of his "known" parts.

With his latest novel, Breaking Lorca , Giles Blunt has become an inspiration to many writers. He may have ruffled a few loyal Cardinal fans, (in fact, I'm quite sure he did) but by blazing this new trail he has proven himself to be worthy of a standing in the halls of Canadian Liturature.

By the way, I should point out I, like many Canuks, shudder at the stuffy, over-touted phrase "CANLIT". It carries with it a pretentious air of exclusivity that hinders rather than fosters our true National Artistic Identity.

Still, there is an undeniable standard that we Canadians strive for, and Blunt has entered into the realm of greatness with his latest two works: Breaking Lorca, and previously the wickedly humourous No Such Creature.

I am proud to have met Blunt, albeit briefly, on several occasions, and to have heard him read. Without a doubt, his recent artistic "mutations" have been the result of much effort, and they have earned him an undeniable place in those haughty yet sacred annals.

Your comments are always welcome. See the "comments" section on individual blog posts.

Donna Carrick, May 18, 2009 www.donnacarrick.com

With the insurgence of Twitter as a networking/marketing tool, Alex and I have been having some fun learning to promote our books and blogs to all and sundry. (See Alex's blog.)

This morning I came across the following “Tweet” posted by Phillip Schofield in the UK: Wow, there's a lot of Saturday morning ironing going on in tweetsville!

To which I RT’d (Reply Tweeted, for the uninitiated): Apparently it ranks as #1 Diversion Tactic for writers!

Keep in mind, most of the people/groups I follow are Lit-related, for example publishers, agents and of course many, many fellow writers.

Checking out the dialogue between writers, I soon discovered that Phillip was right – there WAS a lot of Saturday morning ironing going on!

Now I can’t speak for other struggling writers, but from Monday to Friday I have a day job that keeps the kids in Cheerios. Which means, of course, that Saturday morning is PRIME TIME for writing, before the demands of the weekend beckon, or the call of the beach becomes too seductive.

After all, the laundry isn’t REALLY yelling at me to iron it. It can, in fact, be folded and put away as it is, leaving me time to complete at least ONE short chapter.

Which prompted me to ask the general question to all fellow writers: What kind of writer are YOU? Committed? Uncommitted? Ought to be committed?

My husband Alex, who has just sent his book “Two Scoops is Just Right” to the publisher, has a theory about “commitment”. He says that every activity presents the same set of choices to people, whether it be roller-blading or writing.

1-You can buy all the right gear, the helmet and elbow pads and best blades available on the market. You can tell yourself that you can’t possibly START blading until you have cleaned out your local sporting goods store. Also, you can’t possibly START writing till you have your own office or other quiet space (read garret) away from phones, kids, noises of any kind.

This rationale can buy a lot of procrastination points. You can effectively put off ANY activity this way.

2-You can promise yourself that you will START writing – as soon as the ironing or the cooking or the cleaning or the gardening etc. is done.

I call this a DIVERSION tactic, and a common one, in my opinion, based on the many writers I know.

3-You can tell yourself that you will begin writing as soon as you can afford the time or money to take a creative writing course, or a marketing course, or whatever other course you think will give you the credentials you need.

I am a big believer in learning all you can. By all means, attend a course. But if you are WAITING for those credentials to magically fall into place before you even begin, then sorry, but you’re not a writer. A writer writes, it’s as simple as that.

4-You can sit down this minute with your ‘puter or your pen and you can simply WRITE. You can write badly, or you can write well. You can burn every page as soon as you print it. You can edit your work for months, only to discover it wasn’t worth the effort anyway and you must trash it. None of that really matters. Writing is the end and the means, it is the practice that makes perfect (or at least marginally improved!) and it is the holy grail of all real writers.

So I’d like to throw the question out there to all my fellow-writers: What kind of writer are YOU? Committed? Uncommitted? Ought to be committed?

Comment below and let me know – consider it an invitation to firm up the old “commitment” factor once and for all!
Thanks for the info.
Donna Carrick August 15, 2009

My latest mystery is finally scheduled for release in late September! "The First Excellence" is set in China and features a young Chinese-Canadian woman, Li Fa-ling, who returns to the land of her birth. There she encounters murder, kidnapping, political intrigue and troubling memories of her years in an impoverished orphanage prior to being adopted. Along with Detective Wang Yong-qi and his brilliant but uncouth partner, Cheng Minsheng, Fa-ling must stop a brutal kidnapper, before another baby girl goes missing!

A larger image of the cover can be found at: The First Excellence! Hope you will all drop in for a sneak peek.

Best in writing,
Donna

As an author, wife, mother of 3 and office manager, I am often asked how I find time for my craft. On the surface, it seems to most people that being a parent takes a toll on one's ability to write, or at least on one's productivity. The following is Part 1 of a 3-part article that hopes to capture some of the essence of what it means to be a parent and a writer.

Trish was born in Ontario, and now resides in New Brunswick. Like myself, she's lived all over Canada, a fact which no doubt lends her work a tremendous breath of "experience". In addition to geography, Trish has been blessed with another kind of experience: she is both a wife and a mother to 7 children! In her own words, here is what Trish has to say about the impact of "parenting" on her art:
***
This is an excerpt from one woman’s account of her ongoing journey as a writer, a parent and a life traveller.

Making the decision to have a child is momentous. It is to decide forever to have your heart go walking around outside your body. ~Elizabeth Stone

I love this quote. It says in a nutshell exactly how the experience of parenting has affected my life. If asked about my accomplishments and asked to choose one experience that I felt was my most important contribution, I would not hesitate. The time spent with my children and the reciprocal joy of those relationships was, and continues to be, my most enduring gift. The time I was allowed to travel in the domain of childhood seemed so very short in duration. My work with families is as much a selfish desire to continue the adventure, as an opportunity to provide help where I have experience to offer.

If your heart is forever walking around outside your body, your perspective becomes altered. If you travel in the world of a child, your sensitivities become acute. As a writer, this can be a distinct advantage, a binocular view of humankind. You interpret actions and emotions differently. Values are questioned and redefined. The realization that there is no room for judgemental attitudes becomes apparent.

My children have come into my life in different ways. I gave birth. I am the parent of adopted children and I am a family counsellor. I know the immense capacity of the human heart to love indiscriminately. Relationships become more complex and loved ones become defined in a much broader sense.

Each person, whose life is in any way entwined with ours, can be a potential teacher. We just need to be open to the learning, and be prepared to use the knowledge wisely.
***

Trish grew up in Ontario, the eldest of six children. In her words:
I knew from an early age that I was the secret child of some mysterious and soulful writer. My brothers and sisters tell me that their childhood traumas were a result of my creative imagination.

I have lived in Ontario, Manitoba, Nova Scotia, England and now reside in New Brunswick.

I am a true child of the sixties; the ideals of those years are ingrained.

Be gentle with yourself and the world around you. Care for everyone as best you are able. Take joy in all things.

I believe it and I try to live it.

I am mother to seven children, who came into my life in different ways. They are grown and living their own adventures. I am wife to a man who makes me laugh. I share my workday with families and children; they are my teachers and I offer my knowledge to guide their way.

I am a world traveller, a writer of poems and stories for children. At present, I am assembling the bits and pieces of my life and putting them into words. A mystery novel may be somewhere in the future.

Wonderful women to share thoughts with: Joan Baez, Margaret Atwood and Elizabeth May.

If you are interested in learning more about Trish and her work, you can follow her on Twitter: @BluelegsTango !

As an author, wife, mother of 3 and office manager, I am often asked how I find time for my craft. On the surface, it seems to most people that being a parent takes a toll on one's ability to write, or at least on one's productivity. The following is Part 2 of a 3-part article that hopes to capture some of the essence of what it means to be a parent and a writer.

THE WRITING PARENT, by Sara Francis-Fujimura

There are days that my writer’s hat has to stay on its peg. I used to get frustrated—sometimes even resentful—but I’ve finally made peace with it. My kids will only be small for a short time, but I can write for many more years to come. To keep my career rolling though, even if it is at a much slower pace than I would like, I’ve come up with 3 ways to make sure that my writing craft is always improving.

1. VOLUNTEER to work with kids.
Pick your poison--Sunday school teacher. Soccer coach. Field trip chaperone. Whatever interests you. Don’t look at it as one more commitment. Instead, look at it as an opportunity for some hands-on, intimate research on character and voice. Actively watch how kids interact with each other. What are they talking about? What kind of phrasings do they use? Open yourself up to the moment. See what memories surface from your own childhood at that same stage of life.

I volunteer a lot (I can’t stop myself!): Girl Scouts, Boys Club, 4th grade book discussion, and Drama Club. Sometimes I have all girls. Sometimes all boys. Sometimes it’s mixed. I work with kids from 1st grade to 8th grade. Sometimes they are the same age. Sometimes they are widely mixed. Each group of kids has its own distinct flow and character. I watch attentively and make lots of mental notes. Okay, something I’m not particularly proud of but…I eavesdrop frequently, too. I couldn’t make up half of the crazy stuff I’ve overheard!

2. LISTEN to what kids are saying about books.
I love to ask kids for book recommendations. Books they willingly pick up in the library or bookstore, not what’s assigned or forced on them by adults. After they get over the initial shock of an adult asking them something instead of telling them, they can come up with some surprising answers. During a recent 4th grade book discussion, where I have all boys, we talked about what constitutes a “bad” book.
“If a kid dies, it’s a bad book,” Hunter said.
“But what about Bridge to Terabithia?” I asked. “You didn’t like the movie either?”
“Nope. Bad book. Bad movie.” Hunter insisted.
“And why do dogs always have to die in books?” Andy added. “I like happy endings.”

Hmmm. Not sure I agree with their assessment of “bad” books, but they had a good take-home point. Does the child (or dog) really need to die in your book or are you just being gratuitous?

I read to my kids almost every night, even though both of them are very proficient readers. Besides the bonding time and market research, I like to get their opinions on the writing. I usually stop a couple of chapters into the book and ask if the kids want to keep reading or not. Old-fashioned (read: slow and condescending) books, including a couple of award-winners, rarely make the cut. We like to discuss what makes us want to keep going with the book. Was it the cliffhanger at the end of Chapter 3? Was it the main character’s quirky voice? Is it something like we’ve never read before? Later the next day, I ask myself if my project would stand up to Katie and Andy’s rigorous 3-chapter test.

3. TRAIN yourself to write on demand.
You’ve probably already read all of the how-to articles on writing efficiently. That you should make writing appointments with yourself, remove distractions (I have to turn off the WiFi capability on my laptop), and come prepared to your writing session like it was a class. I like to take it a step further. I rarely have writer’s block, because I’ve trained myself to write on demand. Granted there are days that the writing produced is complete garbage, but you can edit garbage. You can’t edit an empty file.

I often refer to the Starbucks near my son’s school as my satellite office, because I spend so much BIC time there each week. I’ve sat there so many times drinking strong coffee while cramming in a precious writing session, that I’ve developed an almost Pavlovian response. Starbucks+Strong Coffee=Productivity. Even on days when I have the rare block of uninterrupted writing time, sometimes I will still go to Starbucks just to get a productivity boost. The only downside—I frequently smell like coffee.

Okay, now you’ve made peace with the sloth-like pace of your writing career. You look at your volunteer commitments as research time. Kids think you are cool, because you routinely ask for their recommendations on books (and get back to them on it after you actually READ them). You’ve even carved out writing meetings with yourself with the warning to your kids “Unless the house is on fire or someone is bleeding, don’t bother me.” Now what?

Writing for kids is a slooooooow process, especially if you write 300+-page young adult novels like I do. Even after the hard part is done, the waiting game begins. And, unfortunately so do the inevitable rejections—at least until the stars align and the right manuscript lands on the right editor’s desk at the right time of the right trend.

I could repaper my living room with all my rejection letters. To keep from completely giving up, I do smaller projects to remind myself that, yes, some people don’t think my work sucks. A $1000 check for a magazine article you wrote can be a wonderful salve. If magazine work isn’t your style, enter contests or write something for your local paper. It makes my daughter really proud when someone says to her, “I read your mom’s article on roller derby mamas. That was so cool!” That kind of ego boost shuts up the Inner Critic for a while, too. You can also try taking your work to conferences and getting professional critiques. Pinned on the bulletin board behind my desk are a half-dozen business cards from editors and agents who have told me, “I like this. I want to see more.” The stars still haven’t aligned on my manuscripts, but it is comforting to know that there are some influential people out there who don’t think my writing completely sucks. It keeps me going.

I hope this keeps you going, too. It’s not easy being a parent-writer, but you have a secret weapon—your kids! And the best part is, you can be The Cool Mom or Dad while you are working on your craft. How many people can say that about their job?

Good luck, writers!

Sara Francis-Fujimura is a freelance writer, author, and creative writing teacher from Arizona. Her work has appeared in such magazines as Girls' Life, Woman's Day, Mothering, Scholastic's Science World, Raising Arizona Kids, The World Health Organization's Perspectives in Health, and Dance Spirit, among others. Her essays have been featured in Chicken Soup for the Soul: A Tribute to Moms and the upcoming travel book To Japan with Love. Sara blogs for the Phoenix-based Mom's Zone (www.momszone.org). www.sarafujimura.com www.massagingthemuse.com On Twitter @SaraFujimura

As an author, wife, mother of 3 and office manager, I am often asked how I find time for my craft. On the surface, it seems to most people that being a parent takes a toll on one's ability to write, or at least on one's productivity. The following is Part 3 of a 3-part article that hopes to capture some of the essence of what it means to be a parent and a writer.

For most of us in the Western world, parenting really is a choice. We choose to wipe runny noses and shop for back-to-school supplies, treat fevers and praise achievements. The payoffs for this choice are obvious: family love and affection; pride at each new milestone; constant activity and delightful sounds in the home. Those of us blessed with 'short people' in our lives know exactly what the benefits are.

As artists, if we're honest, there is one clear drawback to this familial bliss: time, or rather, the lack thereof. Time to create, time to perfect, time to market and hilight our craft. Because we love our children, we know where our highest priority lies, and we can at times be jealous of our counterparts who enjoy the freedom of each new unclaimed day stretching ahead.

As working parents, the dearth of time becomes a serious challenge to our chosen passion. There are, after all, only 24 of them -- hours in the day, that is. How to fit more productivity into such a narrow slot?

For me, it comes down to being flexible. I've learned to recognise that, even though I am a disciplined person by nature, there are days and even months when my productivity will necessarily be low. For example, when my elderly parents needed my attention, I was not able to write at all. I had two choices: I could accept that cheerfully, or I could accept it bitterly. Neglecting my parents, or my husband, or my children, or, for that matter, myself, was never an option for me.

Add to the mix the fact that my husband, Alex Carrick, is also a writer. Yes, there are 2 of us scurrying around our house with notepads or laptops at any given moment, looking for a quiet place (the bathroom?) in which to write.

What this means is I've had to hone my ability to "scribble on demand". Much like my most recent guest-blogger, Sara Frances-Fujimura, I've had to learn to write in any spare moment that presents itself. This also means I've learned to plot, develope characters, and research -- anyplace, anytime during the day. When I'm driving, when I'm standing in a line, and even when I'm waiting to meet my childrens' teachers, the characters I so love are often dancing in my head to the tune of whatever story they found themselves starring in.

Sounds like a complaint -- doesn't it? Believe me, though, it really isn't. What would I give up? My job, which pays for all the extras we enjoy? My friends, whose support and love is so invaluable to me? My family? Never. Not a one of them.

My art? Not on your life!

The way I see it, I've been truly blessed. My family brings truth into my fiction, like a light shining into the darkest corners of the artist's mind. Without them, I would no doubt be stuck alone in a garret somewhere, with all the time in the world, but with nothing real to write about, no experiences to pave the way, and worst of all, without the loved ones who make it all worthwhile!

That's the way writing is, for me. Still, I manage to turn out on average a manuscript every year. Aside from everything else, I know it can be done.

My greatest hope is that one day our children will grow up to be proud of our efforts, just like Alex and I are proud of theirs!

So, my friends, whatever shape your passion takes, I wish you all the joy of following it!
Best in writing,
Donna Carrick

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Some people share a popular misconception that fictional stories appear fully formed in the mind, waiting to be dropped casually onto a page, as if the writer is nothing more than an automaton, a vehicle through which fiction can flow.

There are, in fact, many aspects to creating any written work. Take for example the art of research. I’m often asked how much research I do and what resources I use. Depending on the type of story being told, at some point most writers find themselves having to engage in research.

When I first set out to write Gold And Fishes, I was deeply moved by the subject matter. The book is set in post-tsunami Banda Aceh (Sumatra, Indonesia) and Phuket, Thailand. It leads the reader through the 30 day period immediately following the Boxing Day tsunami disaster of 2004, which claimed the lives of hundreds of thousands throughout Southeast Asia.

This fictional mystery is set against a very real backdrop of epic tragedy. I remember when I made the decision to write this book. It was January 1, 2005 and my husband and I were watching the sporadic reports that were beginning to funnel down through the Canadian news agencies. I was swept away by the immensity of the loss – even though at that time we had no real idea of how extensive it was.

To do the tragedy justice, I needed to remain true to the actual events. Before I could begin to write Ayla’s fictional tale, I laid down the chronological occurrences, relying on International and Canadian daily news reports.

Prior to Gold And Fishes, I’d never attempted research on this level. Every day during a 6 month period I scoured every fact, every detail of time, place or names that I could find. On many occasions, I had to put the facts aside temporarily, so overwhelming was the emotion attached to what I was learning.

(I should add that I also studied Bahasa Indonesian. Many people have asked why I did this. After all, I don’t get to use the language daily, and I’ve already forgotten much of what I’d learned.

Learning to speak the native language and becoming familiar with the favourite phrases of the region gave me access to my characters in a meaningful way. It made them real to me.)

By March I was ready to outline the actual true story of that event. By May I had begun to cobble together my fictional mystery. By June I was ready to write.

The end result of this labour: a story that is respectful to the survivors and victims of that terrible tragedy. A true account, based on a wide array of news resources, of the actual occurrences within that 30 day period. An introduction to a character that I came to admire for her compassion, work ethic, and sense of humanity.

The First Excellence required its own kind of research. Because the mystery is set in China, I took care to describe only those locations that I was familiar with. The story dives below the surface of Chinese culture. Alex and I adopted our youngest child from the Southern province of Guangxi Zhuang Autonomous Region. It was important to me that the story accurately depict the International adoption process, and that it be firmly grounded in an authentic base of Asian lifestyle.

Once again, I have been studying the language, although I won’t pretend I’m making much headway. Mandarin is a complicated tongue, and the 'characters' are based on ancient pictographs, rather than on phonics.

It soon became clear to me that I would have to do additional research to authenticate my protagonst. You see, Li Fa-ling is a gifted clarinettist. I had no musical background whatsoever, beyond being able to say that I do enjoy music, and really, who doesn’t?

The way I saw it, I could do one of two things: I could force Fa-ling to take up a different interest, one with which I was more familiar, or I could learn to play the clarinet.

For 2 years, I hauled my butt off to weekly lessons every Tuesday after work. Did I become a prodigy? A great undiscovered musical talent? Of course not.

But I did learn how to assemble and hold the instrument, how to create a passably appealing sound from it, how to care for it, store it… Who’s kidding whom? I love my darling ‘Buffet a Paris’. It is a lovely instrument, sleek and black, carved of the finest wood with silver keys and a clear, dark tone.

These things we writers do for the love of our craft. Some writers say their work requires little if any research. Most stories, though, demand at least some attention to detail to place them in the right context.

The next time you pick up a book that carries you away to a world you had never before encountered, please take a moment to appreciate the research that was carried out behind the scenes.

Far from being a waste of time, or a mere diversion, well-presented research really is a labour of love on the part of any writer.

Donna Carrick, October 12, 2009-10-12
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They say the first step toward self-improvement is admitting one has a problem. To that end, I stand in front of a virtual room of perhaps thirty people on this cool fall morning, somewhere in Canada…

Me: Hello. My name is Donna and I am a writer.

#Group: (Mild applause.)

Cindi (the moderator): Welcome, Donna. What brings you to our #group?

Me: It’s kind of hard to talk about…

Cindi: You’re among friends, Donna. You’re safe here.

Me: Ok. Well, it’s been 3 days since my last Chapter. My life is spiralling out of control. I’ve had ‘whiteouts’ -- too many errors. Sometimes I can’t tell the difference between the story and ‘reality’. I feel so…alone. My sponsor is buried in her own revisions.

#Group: (Some shaking of heads.) Yeah, man. That’s rough.

Cindi: How are you coping?

Me: Not sure I am, coping, that is. Just trying to keep busy. Trying to keep my mind occupied. Following my husband around like a lost puppy. Doing some baking, helping the kids with homework, knitting….

Cindi: Go on….

Me: (Looking at my feet) Well, a bit of blogging.

#Group: (Gasps) No! Don’t do it!

Cindi: We’re not here to judge you, Donna.

#Group: That’s right. We’ve all been there, man.

Cindi: The main thing is you realise you need help. You’ve come to this #group looking for something – some way to fill the void of empty hours.

Me: (shoulders lifting with suppressed sob) I can’t help it. I’ve always been a writer. I don’t know how to DO anything else. It’s how I identify myself.

Cindi: But you have a husband, a family, friends, a job…. Surely there are other things in your life besides this crazy dream of making a living by the Word?

#Group: (Claps loudly and slowly) Yeah! Right on, Cindi. He who lives by the Word, dies by it!

Me: I don’t think I can do this. I’ve made a mistake in coming here. (I start to leave the front of the room)

Cindi: What’s really holding you back, Donna? What’s stopping you from planting your feet firmly in the ‘real’ world and giving up this crazy addiction?

Me: (Standing up straight at last) I have to accept it. It’s just who I am. I Am A Writer.

#Group: (Loud applause) Bravo! Bravo! (Rises to ovation)

Cindi: All right. That’s enough for today. We’ve made a major breakthrough here. Now, for God’s sake, let’s all go get a drink!

Donna Carrick, Sunday, October 18, 2009

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When The Noon God was complete, it felt like something I should share. I sent out a multitude of agent queries and after that numerous publisher queries. Heaps of paper, mounds of postage, loads of effort. The response was encouraging -- I received many 'glowing' rejections. Most agents and publishers said the same thing -- they liked the story, they 'got' the voice, but they could not handle a novella. The Noon God is novella length.

Could I have made the story longer? Yes, but it would have been forced. It did not need more length.

For Gold And Fishes, a mystery set in post-tsunami Banda Aceh and Phuket, the amount of research required before I could even begin writing was huge. This story covered the 30 day period immediately following the 2004 Boxing Day disaster in SouthEast Asia. Because of the story's subject, I was compelled towards accuracy and needed to keep a respectful 'truth' about the book. Six months of daily research followed by 6 months of writing and rewriting, revising and editing were followed by almost 10 months of my work sitting with one agent who had requested 'exclusivity' in my query and had shown interest. When I finally got my reply, the agent had experienced recent changes in home life and could not take on any new authors.

I did submit a few more queries after that, but soon realised the subject matter of Gold And Fishes was time-sensitive. Hence the decision to self-publish. I could not bring myself to bury such a significant measure of my labour.

Having already self-published 2 books, it was much easier for me to reach this decision once The First Excellence was complete. Of course, I went to a local writers' conference and had an agent meeting, as well as sending out a couple of queries. The few agents I submitted to all said the same thing: Americans will not be interested in a story set in China.That may be true, but I have to write what's in me. Personally, I love to read about exotic locations, and I'm willing to do the hard work and research necessary to make the stories ring with truth.

So again I found myself "doing it my way".

Mother always said I was a rebel!

#LitChat Response -- Nov. 6/09 4:00 pm EST @Donna_Carrick n Twitter

Comments are welcome.

One never really knows, does one?

My husband, Alex, (@Alex_Carrick) is a long time economist and editor who has written daily, weekly, monthly and annual business reports for over 30 years. His 'Editor" hat is well-placed and I trust his judgement entirely. He is always my first reader.

After he reads, I employ his suggestions, then I edit/revise again on my own.

I have a dear trusted writer friend who teaches English and communication at the University level. She is my 3rd reader, after Alex and myself. She invariably catches problems, for which I'm grateful.

When she is done, I employ her suggestions and then perform whatever editing and revision I feel is necessary. Finally, my work makes its way to my trusted critique group.

This is a group comprised of Toronto and area writers of the highest calibre. One is already published many times through traditional publishing. Another has just sold her first trilogy into 6 countries. Another has been quietly slaving on her own work for years while selflessly editing for others, as well as single-handedly running the "Canadian" CrimeWriters' scene. Yet another was recently short-listed for the prestigious Debut Dagger award. In addition, one is a regular contributor to a popular Canadian Crime anthology.

I am always humbled by this company. They make me want to be a better writer.

Finally, I put my work aside to allow it to 'cool'. When it is good and cold, I read it again as a 'reader' would, and tear it apart one last time.

After years of practice, I've learned to judge/guage the quality. It does not come easily. Folks, writing is not for the faint of heart at the best of times. But if we truly feel impassioned in this field, then we are driven to get our work 'out there' in the best possible light.

Strive always for excellence and reach beyond the previous efforts -- that has always been my motto!

Response to #LitChat -- Nov. 6/09 4:00pm EST @Donna_Carrick

Comments are welcome.

I really don't remember....I honestly believe I was born that way.

The first time I remember telling anyone I was going to be a writer was when I was 4 or 5. I wrote a poem to my mother: Roses are red, violets are blue. You're the best Mom, and that is true.

I have no idea whether I spelled anything correctly, but I clearly recall her reaction. You can imagine how sweet it was. I told her I would be a 'poem writer' when I grew up.

It's probably a delusion on my part (hell, we writers can relate to self-delusion! Ha!) but I like to think my novels contain something of that early poetic innocence. I try to see the world through my characters' eyes, learn along with them and experience the world as they do.

Fa-ling especially gives me that feeling of innocence that survives despite great hardship and a profound understanding of life's darker side. She is, of course, a poet at heart. How could she be otherwise?

It's only a guess, but I'd be interested to find out how many novel writers were first poets.

#LitChat response, Nov. 6/09, 4:00pm EST @Donna_Carrick

Comments are welcome.

Simply put, because I"m fascinated by the world.

Things I've learned while writing a book:
1- The clarinet is a haunted and truly awesome instrument. It's extrememly difficult to hold for long periods of time, and if you don't love your reed, you will never get a pure sound out of it.

2- The world is a big and beautiful place, filled with people of incredible diversity. If Alex & I had "world enough and time" (not to mention enough money!) we would travel, travel, travel.
China is tottering on the brink of modernity. Indonesia is filled with deeply spiritual, loving people who are reaching the world today through technology in a way they never could before. AND Toronto is the home of many terrific writers! ;=)

3- I love learning languages. The first, most intimate form of communication is the 'touch'. The second most intimate, and by far the farthest reaching form of communication is the 'word'. This is why we write, in my opinion. We are driven to record and communicate something important about "our place and time". To do this we rely on words -- beautiful, written words.

#LitChat response, Nov. 6/09 4:00 pm EST @Donna_Carrick

Comments are welcome.

I certainly would consider it.

In fact, when my WIP is complete, I'll be open to ANY means of publication. I am not a poster-child for self-publication. If a traditional publisher were to tell me they could help me achieve success, it would not be a moral issue for me.

If an Indie publisher were to offer me help, I wouldn't turn it away. Only a fool closes the mind to a legitimate offer of help, after putting in so much effort.

If the best avenue at the time once again appears to be self-publishing, I won't think twice about it.

BookSurge (now merging with CreateSpace) has been great to work with -- creatively and professionally. They are responsive and I truly appreciated their Design Team efforts for my covers. I'm not a graphic artist, but I could recognise quality in the many options they offered. They were willing to work back and forth with me to make sure my vision was being properly conveyed in my covers.

On the down-side, self-publishing is not cheap. It would not be the best route for someone who doesn't have the means. Alex and I saw it as an investment, just like a painter must buy his paints or a musician must invest in recording time. We believe in our work and we were willing to put the effort and money into presenting it to the world.

Only time will tell whether the venture will be a success. But at least we've been able to dive into the publishing world on our own terms.

Did I mention that mother always said I was a rebel?

#LitChat response, Nov.6/09, 4:00 pm EST @Donna_Carrick

Comments are welcome.

My imagination has been captured of late by the concept of ‘courage’ – that crystalline intangible that defines some authors and causes their words to reach us at the core.

What is it that characterizes some artists as ‘brave’, in a world where so many miss the mark?

Is it the refusal to shirk the truth? For I believe ‘truth’ is at the heart of all great works, even – no, especially – those of fiction.

Is it the author’s willingness to embrace ideas that are not yet popular, whose time is yet to come? Maybe it’s a brutal exploration of the past, either personal or societal, that lifts some books to that higher level.

If I, as a writer, aspire to write with ‘courage’, then I must first understand what exactly it is that marks a work as ‘brave’, ‘honest’, ‘cutting’.

Maybe it’s the shutting of one’s eyes as one writes – the feeling of one’s inner self surging forth onto the page…the screen…the world.

Perhaps it is nothing more or less than the writer’s willingness to fail or to succeed on his or her own terms.

To those great writers who have already earned this badge, I salute you with my heart.

Donna Carrick, December 6, 2009

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http://www.youtube.com/watch?v=tcs7TzYOT9M

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In this video, I talk about the various services we provide for authors, including copy editing, manuscript evaluation and e-book formatting. I also briefly discuss our individual books.

The Platform "Voice" ~ BlogTalkRadio host John Rakestraw and co-hosts Liz Borino and A.T. Russell speak with Donna and Alex Carrick on the topic of Indie Publishing.

Tune in for the Mother's Day edition of The Voice: