Resources

Resources
A review of Kelley Armstrong’s “The Culling” in Strangers Among Us: Tales of the Underdogs and Outcasts (Laska Media Groups Inc., 2016)
By Derek Newman-Stille

Kelley Armstrong’s near future fiction story “The Culling” examines the relationship between resources and disabilities. Her story is set in a future where there is resource scarcity and a general lack of water and food resources and this future society decides to deal with resource scarcity by killing disabled members of that society each year. Although set in the future, Armstrong’s tale brings attention to the treatment of disability as simultaneously a resource depletion, the disabled body being treated as socially non-productive, and the eugenic attitudes that are part of modern society as much as they are part of the future or past of social treatments of disability. 

This future society uses multiple methods of de-humanizing disabled people, beginning first with the rhetoric of weakness by suggesting that society would be stronger without disabled people in it. It then treats disabled bodies as drains on society resources, acting as though disabled people are not contributors to that society. The strongest rhetoric for de-humanizing disability is to put a person with mental illness on display in front of the society, strip him down, forbid him resources for cleaning himself, and post a sign above him that states that he murdered his family because people with disabilities are a threat to others. 

Armstrong illustrates the danger of rhetoric around disability, illustrating that the portrayal of disability as unproductive and as threat can lead to social actions of ostracism and violence against disabled bodies. Her near future fiction is not only “near future” because of its temporal setting, but because it is “near” and close to present realities. She uses The Culling to symbolically represent the violence against disabled bodies – the ostracism, institutionalization, and the lack of resources given to disabled people. Armstrong brings attention to the dangers of “normalcy”, creating a society whose violence against the non-normate is deadly. She also links non-normate bodies (disabled bodies) to cultural dissent by having teachers and medical doctors consider any act of resistance to be the same as a disabled body and both be subject to termination. In doing so, “The Culling” suggests that control of disabled bodies is a form of enforced normalcy and the suppression of deviation from an external norm. She illustrates that scapegoating certain people is always a form of social control, distracting people from the controls that are placed on them by letting them direct their fears and hostilities onto another group that is already considered abject, considered Other. 

Rather than concentrating on physical disability as many speculative fiction authors do, Armstrong entwines aging, physical disability, psychological disability/mental illness, cognitive disabilities, and non-normate appearance to create a sense of connection between those bodies and minds that are seen not to belong in a society that is hyper-focussed on maintaining ideas of normalcy that Other certain bodies. 

Marisol has a family history of mental illness and her parents, fearing that she will be culled like her aunt, train her from an early age how to avoid looking different in any way in public, how to pass medical tests that are geared toward rooting out dissent, and how to pass as ‘normal’. She is always aware of the presence of systems of control that exist around her throughout her life and her need to pretend to be as normal as possible, and is more aware as she ages and becomes more aware of her own psychological disability. Yet, she is aware of the work that other people with psychological disabilities have done and is aware that the rhetoric of unproductive bodies is a social lie since she has seen the beautiful artwork produced by her aunt, who was culled for her psychological disabilities. 

It is significant that Armstrong made her protagonist a teenager both because this is the time period when most psychological disabilities become apparent, but also because teenagers are often subject to a normalizing influence, encouraged to conform, and yet are viewed as being rebellious and non-conformist. Her character is at the perfect age to invite social questions even while she is trying her hardest to fit in to a society that has already rejected her.

To discover more about Kelley Armstrong, visit her website at http://www.kelleyarmstrong.com
To discover more about Strangers Among Us: Tales of the Underdogs and Outcasts, visit http://laksamedia.com/strangers-among-us-an-anthology-with-a-cause/ 

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Immortality Quest

Immortality Quest

A review of Kelley Armstrong’s “Sorry Seems to be the Hardest Word” from “Expiration Date”, Edited by Nancy Kilpatrick (Edge, 2015)

By Derek Newman-Stille

It is always exciting to see a collection on the notion of the “Expiration Date” open with a vampire story – a monster developed as a fundamental question to the notion of death itself and occupying a liminal status between life and death while complicating both ideas. Kelley Armstrong’s “Sorry Seems to be the Hardest Word” reintroduces some of the vampires from Kelley’s other fiction including Zoe, the Toronto vampire who people feel doesn’t really count as a vampire, and Cassandra, a vampire who has lived well beyond the date at which most vampires die. In Armstrong’s Otherworld stories, vampires are only able to live a certain number of years and each year, on their birthday, they must kill a human being and drink the last of their blood. As vampires age (still well beyond a human lifespan), they begin to experience the effects of aging and eventually die. Cassandra is seeking a replacement for herself on the supernatural council as the vampire representative and she has identified Zoe as a potential replacement.

Armstrong’s vampires, like many vampires in fiction, embody the clashing of past and present – figures who blur the understanding of the past by carrying memory into the present. Cassandra embodies this clash of temporalities by being an antique dealer, working with items from the past and bringing them into the present. Zoe embodies her resistance to the timeline by being an antique thief, stealing those moments of the past as she does by living beyond her years. But, Zoe and Cassandra’s strange relationship to time is most important in the notion of what is remembered and what is forgotten or left in the past. When Zoe’s young, human protage, Brittany the (former) Vampire Slayer (yes, she is definitely an Armstronged Buffy) begins asking Cassandra about Zoe’s past, the vampire obscures the details of Zoe’s past to hide the more unsavoury details of her life, hiding the rawness of Zoe’s memories and her previous identity from Brittany. This desire to hide the past only highlights how much Zoe has changed and how much she is concerned about her changes. Yet, this is also a narrative about wanting an apology for a past wrong done to Zoe and apologies are a way of coping with the past.

To further the issues of time and long life embodied by the vampire, Zoe is also facing an influx of “immortality questers” into the Toronto area – supernaturals who dissect vampires as a way to try to gain immortality. This act of questing for immortality underlines the role of the vampire as a question about immortality and survival as well as the obsession our society has with finding ways to life forever.

Armstrong’s “Sorry Seems to be the Hardest Word” is about the uncertainty of time and memory and about the loss that long lives can imprint on the undead. Situated in a collection about death, this story serves as a question about death and the social power it has.

To discover more about Kelley Armstrong, visit her website at http://www.kelleyarmstrong.com

To find out more about Expiration Date, visit Edge’s website at http://edgewebsite.com/books/expirationdate/expirationdate-catalog.html

 

 

The Pedagogical Power of Play – Teaching Canadian SF (okay, and other literature courses too)

The Pedagogical Power of Play
by Derek Newman-Stille

Play is an important way to help students (of any age) learn. When you evoke student emotions, they remember things more effectively since memory acquisition is linked to emotional responses. By using an element of play in your teaching, your students are also more willing to take bigger risks, and do things that seem too stressful in a classroom that takes itself too seriously. When playing, students become more active learners. They know that the rules are somewhat suspended, so they are willing to take greater risks, think further outside the box. Once you are able to get students to think outside the box, they are able to think more critically about what they are doing. Not only will they remember the ideas you are covering, but they will also be more willing to question things, engage deeper with ideas, and be more inspired.

A lot of instructors use questions about the text (memory exercises) as a way to help students learn. They will create activities geared at helping students remember facts, but students remember facts best through using them, and being emotionally attached to them.

The most important thing to do is to let the texts themselves lend different ideas for inspiring students. Applying ideas from outside to various texts ends up feeling unnatural to the students. Look for entertaining ideas that stem from the text itself. For example, when I was teaching Stephen King’s Misery to my students, character Paul Sheldon discusses a game that he used to play with his friends where they would tell a story and then vote about whether it was believable or not. I adapted this for an activity for the classroom, having the students share in telling the story of Annie Wilkes (the villain of the story) in pieces and then vote after each segment whether the tale was believable for the Annie Wilkes that King created. By playing at giving Annie a background, students were able to explore narrative potentials and they were able to look deeper and more critically at the character King had created.

A Few Activities:

 1. Fan Fiction

Have students search for those narrative gaps in the text, those areas that the author didn’t explore and are rich for exploration. Fan fiction allows students to get deeper into the narrative and do an analysis beyond the surface reading. When students write fan fiction, they need to understand the text deeply in order to write a story that feels authentic to them. They tend to mine the text for incredible amounts of detail to support their ideas… which is great preparation for later essays and examinations.  When students write fan fiction, they look for narrative gaps, which means they look at the text critically, searching for what is missing, for problems in the text.

Make sure to provide students with a few examples of fan fiction (it is best if it comes from texts outside of the course so that they don’t feel like they are too limited)
(Thank you to Kelly McQuire for inspiring this)

2. Title Mash-Ups

Have students chose the titles of two different books from the course and then mash their titles together. Provide them with a few examples (of titles outside of the course). Then ask students to do an “elevator pitch” about what that novel will look like. Let them know that an elevator pitch is the pitch for a new novel that you would give in the few minutes that you have between floors when you are in an elevator with a publisher – make sure that they limit it to about 5 minutes.

This activity will help students to start making connections between the texts and thinking about them comparatively. This allows them to work out some ideas about the conversations between the texts and the overall themes of the course. Once they begin looking at things through a comparative lens, it makes it easier for them to do comparisons between texts later in essays and exams.

Here are a few examples of title mash-ups:

The Twilight Games
(Mash up of The Hunger Games and Twilight)

Vampires from each of the districts of Panem have to enter into an (eternal) life or death match with other vampires. Each of them has to protect a human companion from vampiric attack by their other opponents and battle their own hunger for human blood in order to keep their human alive in a world where everyone else and even the land itself is out to get them.

And some Canadian SF examples:

Blood Expendable
(Mash up of Tanya Huff’s Blood Price and James Alan Gardner’s Expendable)

After developing Retinitis Pigmentosa, Vicki Nelson, detective for the Technocracy loses her position and is made a member of the Explorer Corps, or, as they call themselves, Expendable Crew Members and sent on all of the dangerous missions that other, able-bodied crew members aren’t sent on because the Admiralty knows that people with disabilities aren’t mourned as much as able-bodied crew members. When the Admiralty sends her on a mission to a planet that is known to be a place of certain death, a planet where it is rumored that people frequently die of blood loss, she finds out that her only ally on this planet is a vampire. She learns that she can heal her body if she choses to become a vampire, or she can embrace her Retinitis Pigmentosa and try to change a society that rejects its disabled members and views them as expendable.

Bitten by a Turn of Light
(Mash up of Kelley Armstrong’s Bitten and Julie Czerneda’s A Turn of Light)

The small valley of Don is an odd pioneer settlement on the outskirts of Toronto where there are elements of magic like house toads, wells that fill up with sweet-tasting water whenever it is desired, fields that suddenly lay down during harvest, and where the woods are populated with strange beings. After being bitten by her friend, a mysterious, invisible entity named Wisp, Elena Nalynn discovers that something has changed in her body. She discovers that she is cursed, stuck between the human world, and the world of her friend. While trying to control her new hungers, her ability to turn invisible, and the impulse to fly, she has to confront whether she wants to try to make a normal, human life for herself in Toronto or venture into the Verge to join Wisp and live with the dragon pack.

3. Monster Mash-Up

In the wake of Mash-Ups like Pride and Prejudice and Zombies, Sense and Sensibility and Sea Monsters, Mash-Ups have become really popular with readers. A mash-up is a work of fiction that combines a pre-existing literary work with another genre – essentially an injection of a monstrous bite into an existing literary work. In a work like this, students are encouraged to use somewhere between 60-85% of the original text and adapt other parts of it to suggest monstrous figures like zombies, vampires, or werewolves.

This can be a great activity for teaching a course that combines traditional Can Lit with Canadian genre fiction, for example, inviting students to mash up Anne of Green Gables with the monstrous. But, it can also be used to mash up other works of genre fiction, combining aspects of the monstrous with other narratives – for example, taking Canadian SF stories and injecting in a bit of monstrous characteristics.

You can ask students to do a full novel Mash Up, a single chapter, or even just do an elevator pitch about what the Mash Up would look like. If you decide to do an elevator pitch, ask student to think about how monsters would be integrated into the novel’s world, what challenges the narrative would face, which characters would be (or become) monstrous, and what elements of the story would shift with the monstrous introduction.

To begin, introduce students to a wide variety of Canadian monster short stories and/or novels.

Some Examples of Great  Canadian Zombie Short Stories or Anthologies:
Dead North: Canadian Zombie Fiction Edited by Silvia Moreno-Garcia
“The Ethical Treatment of Meat” (in Objects of Worship) by Claude Lalumiere
“A Visit to the Optometrist” (in Objects of Worship) by Claude Lalumiere

Some Examples of Great Canadian Zombie Novels:
Husk  by Corey Redekop
Zombie Versus Fairy Featuring Albinos by James Marshall

Some Examples of Great Canadian Vampire Short Stories or Anthologies:
Evolve: Vampire Stories of the New Undead Edited by Nancy Kilpatrick
Evolve 2: Vampire Stories of the Future Undead Edited by Nancy Kilpatrick
“Stories With Happy Endings” (in This Strange Way of Dying) by Silvia Moreno-Garcia
“Cemetery Man” (in This Strange Way of Dying) by Silvia Moreno-Garcia.

Some Examples of Great Canadian Vampire Novels:
Blood Books (series) by Tanya Huff
Blood and Chrysanthemums by Nancy Baker
A Terrible Beauty by Nancy Baker
The Night Inside by Nancy Baker
The Embrace of Life and Death by Liz Strange
The Night Wanderer: A Native Gothic Novel  by Drew Hayden Taylor
Enter, Night by Michael Rowe

Some Examples of Great Canadian Werewolf Short Stories or Anthologies:
“Out of the Light” (in Chimerascope) by Douglas Smith
“Spirit Dance” (in Impossibilia) by Douglas Smith

Some Examples of Great Canadian Werewolf Novels:
The Wolf at the End of the World by Douglas Smith
Bitten by Kelley Armstrong
Naked Brunch by Sparkle Hayter

Think about how much fun your students could have writing Anne of Green Pustules!

4. Write a review on GoodReads or another review site

Introduce students to a review website so that they can get a sense of what book reviews look like. Then, ask them to write their own review of one of the books on the course or one of their own books for a later essay. By asking students to check out GoodReads or other review sites, it introduces them to the notion of literary media sites and allows them to begin participating in literature communities. This will allow them to engage with a wider community of literature fans and prepare them for writing their own critiques of the books they are reading. By having them post their reviews on GoodReads or a similar site, students will feel engaged and will also feel the social pressure to write good reviews for others who might be interested in the book. It also allows them to feel more responsible for writing a good review since they will be responsible to a whole group of other readers.

I like to introduce GoodReads to students as “It’s like Facebook for people who love books”.

By having students review Canadian SF material, you are also contributing to Canadian authors by making sure that there are more reviews available for a genre that is traditionally under-reviewed.
(Thank you to Adam Brittain for inspiring this)

5. Now You Go There

Have students think about what it would be like to suddenly be in the world of the novel they are reading. What would their experience be? How would they survive in this world? What challenges would they face?

This activity will help students to deeply explore the role of setting in the novel – the social, political, and environmental context of the novel. This is especially effective for fantasy, science fiction, and some types of horror since students will have to examine the world-building of the author and try to fit themselves into that world. By asking the student to enter metaphorically into a new world, you are helping them to become (quite literally) personally involved and students often remember things better when they somehow relate back to themselves.

I find an effective accompanying text for this (in addition to whatever novel you are teaching) is Gary W. Renshaw’s “Vacation” in OnSpec #92 Vol. 25, No. 1 since it explores a sci fi author who ends up crash landing on an alien world (as well as the accompanying issues and frustrations that come from living on that world). You can find a review at https://speculatingcanada.wordpress.com/2013/09/25/sci-fi-author-in-space/

6. Correspondence

Have your students write a series of emails or letters between various characters at various key points in the narrative. This will help the students to explore character psychology and interaction. They can interrogate the intentions of the characters as well as the way they want to represent themselves to other characters, and how they manage their identity portrayal.

7. Comic Book It!!

Have your students think about how they would adapt the novel they are reading into a comic book. I would suggest limiting their comic books to a 5 comic book run to cover the material from the original novel. Have them think about what they would need to include, what they would have to remove (while still making certain that they text conveys all of the relevant parts of the novel), ask them to think about their audience and in which ways they may have a different audience.

Ask students to do character layouts for each of the characters, considering the personalities, motivations, desires, flaws, strengths, and quirks of each of the characters. Following this, ask them to write out titles for each of the 5 comics and write a short description of each comic, considering the action of the scene, what to highlight, the fundamentals of the dialogue, and which parts of the novel they will cover.  Then, ask them to think about the essential dialogue of the text and choose some key quotes that would appear in word bubbles to capture the action of the scenes.

You can introduce students to an adaptation of a Canadian novel into a comic by having them first read Kelley Armstrong’s Bitten and then have them explore the comic book adaptation of the novel by Angilram at http://angilram.deviantart.com/gallery/6373443 .

8. Interview the Author

Have students develop questions for the author of the book that they have just read. This will allow them to delve into the narrative gaps, the missing or unexplored parts of the book.  In order to help them to prepare, you can introduce them to some interviews that you have found particularly interesting (hopefully, perhaps, like those on Speculating Canada). Consider using interviews that do deeper interrogations rather than ones that just ask the author “how did you sell your first book?”

9. Dating Profiles

This works particularly well for novels that have a romantic component. Ask students to choose three characters from the novel and write a dating profile for each of them. Have them consider the personalities of the characters as they are laid out in the novel and think about what they would write in a dating profile.

Here are some key areas that you can direct them toward:

-Headline:
-Name/ Pseudonym:
-Gender:
-I am Looking For: Marriage/ Dating/ Relationship/ Casual/ Friendship
-Looking for a Person Who is:
-Likes in a Partner:
-Dislikes in a Partner (Deal-Breakers):
-About me:
-Physical Description:
-Interests:
-Hobbies:

You can also have students write a dating questionnaire from the perspective of their characters with questions like:
-Describe any frequent types of barriers or patterns you encounter in your search for relationships:
-Please describe any circumstances or conditions in your life that you are concerned about regarding your relationship search and/or ultimate relationship success:
-What is your greatest achievement?
-What is your greatest disappointment?
-What is your best attribute?
-What is your worst attribute?
-If you could change one thing about yourself, what would it be?
-What is your greatest passion?

As a really fun way to finish this activity, you can ask students to engage in a speed dating activity, having them play the part of the character trying to date one of the others. I find it really entertaining to have them speed date random other characters from the novel (other than the one the author intended to be their ideal partner).

You can, of course, use these activities for any literature course (not just for Canadian Speculative Fiction), but I hope they will inspire you to consider proposing a Canadian genre fiction course at your university or high school, or at least to include a few Canadian genre fiction texts on your syllabus.

These activities lend themselves particularly to literature courses, and the activities in the course assist students to develop confidence in creative writing, so can be quite effective for a creative writing course.

Remember, the more skills your students develop, the better your marking experience will be!! Well-written, interesting papers are much MUCH easier to mark.  So, when you inspire your students to develop their skills, you also save yourself time, energy, and headaches. Plus, playing when you teach also means that you will look forward to your own classes instead of dreading the boredom that comes from repetitive, replicative teaching.

Year in Review: What is Canadian Speculative Fiction – from the authors

People are often asking if there is such a thing as “Canadian identity”, something that differentiates Canada from other nations. I thought I would ask authors if theyfuture spec can thought that there was something distinctly Canadian about Canadian Speculative Fiction or how much they felt that their Canadian identity influenced their writing.

I have provided links to the full interviews below each author’s comments so you can re-read them or, if you haven’t had a chance to read them yet, to read them for the first time.

Claude Lalumiere:

“I know that [my Canadian identity] does [influence my writing], but I am not sure if I’m equipped to know how, aside from the fact that Montreal is often an important setting in my stories. On the subject of my being a Canadian writer, Paul Di Filippo, in his introduction to The Door to Lost Pages, wrote, ‘Claude Lalumière is not only a universal author but a regional writer. His native Canada, specifically the city of Montreal, is as much a player in these stories as the people, even when not specifically named. There’s some numinous element of these tales that acts as a counterbalance to the hegemony of US fantasy trilogies. We are hearing a voice literally from beyond the lands we (we American readers) know.’”

https://speculatingcanada.wordpress.com/2012/08/01/interview-with-claude-lalumiere/

 

Steve Vernon:

“We Canadians are champion diehard storytellers. I mean take a look at our winters. Take a look at our television network. Take a look at our mosquitoes. What else have we got to do but to tell stories to each other?

“In some ways my Canadian identity limits me – in that it is harder to find my place in the international market. But my Canadian identity helps make me the writer that I am today. Remember – I have a half dozen regional books out at this moment from Nimbus Publishing – Nova Scotia’s largest publishing network. I am also close to signing a contract with another new Canadian publisher for a series of YA horror novels. My regional books have sold in the thousands – which makes me a bestselling author in Canada.”

“Nova Scotians are the true storytellers of Canada. We have an even worse selection in television, bigger mosquitos, and less opportunity for honest work. Again I ask you what else can we do but sit around and spin out yarns?”

https://speculatingcanada.wordpress.com/2012/08/06/interview-with-steve-vernon/

 

Ian Rogers:

“Is there something that makes our stories inherently Canadian? Possibly, but it would probably take someone who isn’t from here to determine that. They say you should write what you know. I agree with that, but I would add a corollary: you should also write where you know. I know Canada, specifically Toronto and the GTA, so that’s where I typically set my stories.”

“I like to think that Canadian authors are reclaiming the “horror” word in much the same way David Cronenberg reclaimed it for Canadian film.”

https://speculatingcanada.wordpress.com/2012/08/23/interview-with-ian-rogers/

 

Nancy Kilpatrick:

“I think my work is multi-national, multi-cultural and encompasses a lot of attitudes and values that Canadians hold to like gender equality and equal pay for equal work.  For example, I’ll use fairness.  Canadians like to be fair and that leads to that stereotyping of people from this country always apologizing.  But really, it’s not so much apologizing out of guilt–as the Americans imagine–as Canadians being polite, acknowledging the other person’s existence and that they, too, have rights.  I think my writing incorporates that even in the conflicts of the story, even when a character is obnoxious.  I try to give the characters the chance to do the right thing.  If they do, they are holding to my values and the values I see around me, despite how much the current climate tends to try to erode those values.”

“I’d say that in general, Canadians write with intelligence, and that includes the darker genres.  They are educated and that becomes clear when you read the stories and novels.  Nothing here is slapped together and I suspect that’s because in the past we didn’t have a horror publishing industry so writers have had to work harder, knowing their English-language markets were in the U.S. and Britain, and the French markets in France.”

“Besides being thoughtful and intelligent, Canadians write from their experience.  Cities here are different than cities in the U.S.  For example, our citizens don’t carry guns.  Our landscape involves a lot of nature, which is important to Canadians, and that allows for a certain type of horror that can be both visceral and psychological.  Characters in the stories and novels produced in this country — and I’ve read a lot of short fiction for the four anthologies I’ve edited for Edge (two were all Canadian authors and the other two have a goodly chunk of Canucks) and the eight before those for the U.S. market — read like real people, well-constructed, with depth and lives and thought-processes which aren’t stereotyped.  Because the characters are intelligent, even if a tad whimsical, readers can respect them.  There’s nothing worse in a horror novel or story than the clichés, for example:  “Let’s split up!” Stories by Canadians strike me as having characters who are loners, not necessarily out of some twisted or evil past but more because of the way we live here, a kind of self-sufficiency that isn’t bitter.  What I mean is, you get characters who just get on with it and deal with things to the best of their ability.  And most of the time they don’t have arsenals at their disposal so they have to use brain-power while coping with the emotions evoked by the horrific situation.

“Don Hutchison, who was the editor of the wonderful anthology series Northern Frights, used to say he thought Canadians wrote with a sense of place, and that might be what I’m getting at.  But I think it’s more.  I think the place shapes the person and their world view and how they cope with everything.  What I like about what I’m reading by Canadians — besides  the fact that they like to slide between genres, which I find fun — is that they bring themselves to the fore and that Canadianism is recognizable.  In my view, we don’t need the government shoving Canadian content down our throats as if it has to be protected or die out, or shoving language down our throats, ditto the reasons.  These things already exist and can stand on their own.  It’s who we are and it shines through in the writing.  When travelling, one can usually spot travelers who are English or French or German because they are distinctive.  But you can also spot Canadians because we are distinctive in our way.  Canadians are nice, fair, friendly without being in your face, and honest.  Why Canadians don’t see and appreciate these rare qualities in themselves, I don’t know, but it’s also in the writing and in the books we’re now producing that are in the horror/dark fantasy genre and that’s one of the reasons Canadian fiction stands out.”

https://speculatingcanada.wordpress.com/2012/09/15/interview-with-nancy-kilpatrick/

 

Paul Marlowe:

“If I can depart from the standards of civil debate for a moment, I would suggest that in a country where anti-intellectualism is on the rise – where anyone interested in technology or SF is branded a geek, and where a political leader such as Stéphane Dion can be discredited amongst the public by being called “professor” by that weird gang of mediocrities, cranks, embarrassing amateurs, control-freaks, spin-doctors, and corporate sock-puppets comprising the Government – the question facing Canadian SF is: how many of us want to think?”

“It’s probably premature to begin identifying what, if anything, differentiates Canadian from international steampunk. If its popularity survives for more years, then a comparison might be worthwhile. In some ways, the real history of Canada is kind of like an alternate history of the United States – we were the part of British North America that chose to stay British. Those who didn’t want to become republican Americans came here as Loyalists.

“Once you get past the superficial bric-a-brac of steampunk that is common in books from various countries, the Canadian angle has interesting opportunities, since it places the reader in North America, and yet also in the greatest multinational empire that has ever been.

“For a writer of fiction, the fluid, evolving nature of the empire that Canada was a member of provides plenty of opportunities to imagine what it might have become, for better or worse, had its evolution proceeded differently.”

“Not being a scholar of Canadian SF, I don’t know if my forecast would be any better than those of Environment Canada since their budget cuts. It looks like SF will continue to be sidelined, culturally, for the foreseeable future, since there’s a sort of literary apartheid in Canada (as in other countries), which places SF down in the lowest class where it can be disenfranchised by excluding it from the grants, prizes, reviews,  media attention, and the rest of the grease and hot air that lets the literary machine chug along, hoisting books out of the shadows and into the public eye.

“Some countries, perhaps, do a bit better than Canada. In the US, where every stage of the Lit Cycle from writing to reviewing to award-giving isn’t subsidized by a federal or provincial ministry of official culture, there seems to be an acknowledgement that literature consists of something beyond self-conscious nation building, lyrical tales of suicide on the prairies during the Great Depression, and other dismally “realistic” but morally uplifting fare. Coincidentally, the US also has a huge SF publishing industry, attracting writers from, among other countries, Canada. And there’s probably a reason why writers like Sir Terry Pratchett appear in the UK, and not in Canada. Despite there being the same tendency to pretentious literary cliques in the UK as we have here, Pratchett was knighted (the equivalent of a Companion of the Order of Canada), his works have been performed as stage plays, as TV programmes, and on the BBC, and he won this year’s Wodehouse Prize (equivalent of the Leacock Medal, but with more pigs and champagne). Writing SF requires imagination, but I’m not sure that I have enough to imagine a Canadian fantasy writer being similarly celebrated by his or her country.

“Government assistance was certainly necessary here to kindle a national book industry and literary institutions. Unfortunately for many “genre” writers, it’s now simply supporting an industry that does little for them but denigrate and ignore their work. Canadian literature won’t be as rich and varied as it might be until the bigotry of the industry abates. I suppose the best way for that to happen might be for more people involved in Canadian SF to sit on grant & prize juries, write reviews, and speak out when they’re discriminated against, not on their literary merit, but on their choice of subject matter (or choice of friends).”

https://speculatingcanada.wordpress.com/2012/09/18/an-interview-with-paul-marlowe-about-the-wellborn-conspiracy-series/

 

Douglas Smith:

“Well, beyond the Canadian and Toronto settings in many of my stories, now that I think of it, one of the [Canadian] themes that recurs in my work, especially the Heroka shapeshifter stories, is that of the conflict between our civilization and the natural wilderness, as our resource-based industries, which feed our cities’ growing hunger for timber, water, power, minerals, and land, consumes more and more of the natural world and habitats of our wildlife. Our country has always been defined by its vast wilderness areas, and yet the huge majority of our population lives in only a few highly urbanized pockets of that vastness.  So there’s this destructive dichotomy between us and the land we live in–we live off of the land but we don’t really live in it. But for those who do live there and for the wildlife species that live there, we’re destroying more of that wilderness every year to feed the hunger of the cities. This is the central theme in The Wolf at the End of the World and in most of my other Heroka stories. The Heroka are a race of shape shifters whose vitality as a race is tied directly to the vitality of their totem animal species, species that are dwindling as their natural habitats are destroyed by logging or mining concerns, or flooded for hydro-electric projects.

“Other Canadian themes in my work include a suspicion of both corporate and political power, a suspicion that I think is greater here in Canada than, for example, in the US.”

https://speculatingcanada.wordpress.com/2012/10/06/interview-with-douglas-smith/

 

Kelley Armstrong:

“I don’t think [Canadian supernatural fiction] is heading anywhere different than supernatural fiction in general, which is beginning a downswing. It will never go away completely, but the market will be smaller.”

“There are differences in the [Canadian versus other nations’]markets. What is a bestseller in the US will not necessarily be a bestseller in Britain. That’s the same for all geographic areas—Canada also has differences from both. The literature produced in our country reflects the differences in regional taste. I’m not sure it affects the supernatural aspects of the story as much as the general ones—the tone, the themes etc.”

“[My Canadian identity] makes it easier to do Canadian characters and settings 🙂 On the other hand, it makes it harder to do American ones, and that’s where a lot of my stories are set, for the simple fact that I can have a larger cast of supernaturals that way—it’s easier to speculate that so many supernatural beings go unnoticed if the population is much larger. Beyond that, I don’t feel it’s had much impact on my opportunities as an author or how I’m treated.”

https://speculatingcanada.wordpress.com/2012/10/17/interview-with-kelley-armstrong/

 

Chadwick Ginther:

“I quite enjoyed blending Canadian folklore with other myth cycles. It’s a sandbox I could see myself playing in for a long time. It’s easy to think that Canada doesn’t have a folklore unique to our borders. But I don’t think that’s the case. I would love to see our own folk stories and tall tales take centre stage. I would also love to see Indigenous writers bringing modern takes on their myths and folklore to the fantasy genre. Something I’ve so far only really seen from Daniel Heath Justice.”

“Because I so enjoyed mixing myth and Manitoba, I also hope that Thunder Road can inspire readers to look more closely at their homes to find those ties to the mythological past.”

“I have to be honest, I’ve never thought about my work in [the] context [of its Canadian identity]. I certainly didn’t set out to write the Great Canadian Fantasy novel and am woefully unfamiliar with the Canadian literary canon (perhaps if it included more dragons and robots…). I suppose one could say there is an element of the immigrant’s tale to Thunder Road, not a uniquely Canadian experience, but we are a nation built by immigrants. It’s one of the reasons I decided not to make Manitoba Ted [the main character from Thunder Road]’s home. Having him trying to start a new mundane life in an unfamiliar place echoed his becoming a part of the Nine Worlds, and the new fantastical life that awaited him.”

https://speculatingcanada.wordpress.com/2012/10/22/chadwick-ginther-interview/

 

Karen Dudley:

“I do believe that Canadians (myself included) have a distinctive sense of humour – part bawdy British, part self-deprecating Canadian. I’m not sure an American, for example, could have written a book like Food for the Gods. Canadians also have a reputation for being nice. I’m not sure if I’m nice or not (I like to think I am!), but as a Canadian, I can’t relate to the more extreme or paranoid political cultures. This can’t help but inform my work, and my characters tend to display a certain tolerance and trust in their world which matches my own.”

“Apart from the same way it speaks to any modern reader, I think here in Canada, we have a unique perspective on mythologies simply because so many of us come from different cultures and traditions. That’s a lot of stories, a lot of different perspectives on how we live our lives. With such an incredibly rich diversity, these myths have something to say to just about anybody regardless of which cultural tradition they come from.”

https://speculatingcanada.wordpress.com/2012/10/26/interview-with-karen-dudley-about-food-for-the-gods/

 

Liz Strange:

“I try to set a majority of my works in Canada, or at least have a Canadian character represented.  Our recognition in the world as peace keepers, progressive thinkers and top providers to our citizens is very important to me. I am proud of my nationality and our country’s history, and come from a long line of writers, historians, politicians and educators.”

https://speculatingcanada.wordpress.com/2012/11/06/interview-with-liz-strange/

 

Helen Marhsall:

“Canada has always seemed to me to be a place struggling with memory. Both of my parents emigrated to Canada just before I was born, my mom from South Africa and my dad from England via Zimbabwe. I didn’t feel a strong connection to Canadian history. I grew up reading books about European history, reading children’s literature that was grounded in mythologies that seemed very distant. Stories were things that happened in other places. As a medievalist in Canada, I find I always have to explain why I do what I do. When I go to England, they get it. Because it’s a part of their history and it matters to them. I’ve learned to live with that dissonance.”

“I think the macabre in Canadian fiction accomplishes what the macabre accomplishes in all fiction: it gives us a sense of our own mortality, of the body as something that will inevitably die. It reacquaints us with fear, and at the same time it enlivens us. Does Canada have its own unique brand of the macabre? Most definitely. Canadian literature has been traditionally considered to have a strong vein of realism to it, but the macabre, the Weird—the kind of books that ChiZine Publications has championed–are doing something to open that up. That’s good. I don’t believe in straitjacketing literature.”

https://speculatingcanada.wordpress.com/2012/11/15/interview-with-helen-marshall/

 

Nina Munteanu:

“Canada is a truly multi-cultural country and serves an excellent fractal microcosm for writing about mixed civilizations in the universe.”

“[Canadian Speculative Fiction] tends to be darker and more reflective. With fewer happy endings… LOL! Who else but a Canadian would write a science fiction romance with a tragic ending? When I wrote The Cypol (Extasy Books) I discounted the protocol of the romance genre for happy endings. The Canadian publisher accepted the novelette, which says a lot. Even though the critics liked it, romance fans hated the book. LOL! I think that Canadian SF authors bring a dark edge to the genre that slides a bit into literary fiction. Again, perhaps why Booker prize-winner in literary fiction Margaret Atwood finds herself writing speculative fiction. Her works are a good example of what Canadian SF writers do best: infuse meaningful reflection and deep allegory in speculation. I think much of Canadian speculative fiction springs from our multi-cultural and northern setting.”

“I feel a strong Canadian identity and I’m certain it imbues my main characters and the cultures I portray. Firstly, I make a point of using Canadian places as settings for my fiction (if set on Earth, that is).

“I like that Robert J. Sawyer, back in the 1980s, either set part of his novels in Canada or made at least one of his main characters a Canadian. This was in a time when it wasn’t vogue for a large American publisher to set your novel outside the USA unless it was some place globally recognized, like Paris. Sawyer wasn’t the only one; other notable Canadian SF authors who set their stories in Canada include Charles De Lint, Cory Doctorow and Guy Gavriel Kay.”

https://speculatingcanada.wordpress.com/2012/11/27/interview-with-nina-munteanu/

 

Nancy Baker:

“One reviewer called my characters “kinder, gentler vampires”, which strikes me as very Canadian.  I certainly felt that you could not have the kind of violent, predatory vampires in Toronto that seemed common in U.S. vampire fiction – though one New York writer I shared a radio panel with seemed appalled at the idea that I assumed you could leave dead bodies all over Manhattan and no one would care.  However, I don’t think there’s any particular type of Canadian vampire.  Mine might be “kinder and gentler” but those are the last words you’d use to describe the vampire in Michael Rowe’s Enter, Night. One of the interesting things about that book is that the demons that must be confronted are deeply rooted in the book’s Northern Ontario setting and in a part of Canadian history we’re conditioned to think of as something boring to study in public school.  The evocation of nature as a shaping, often inimical,  force is one of the things that is considered traditionally “Canadian” and it works brilliantly in that book.”

https://speculatingcanada.wordpress.com/2012/12/05/interview-with-nancy-baker/

 

Gemma Files:

“In her book Survival, Margaret Atwood once advanced the idea that all CanLit centres around a massive, indifferent, rejecting physical landscape and our place, or lack of one, within it. And while I initially found that idea hard to go by, mainly because I was raised in one of North America’s cities. One thing I’ve learned from teaching Canadian film history is that Canadian “culture” is mainly defined negatively, like in the old Molson’s “I am Canadian” beer commercial: We don’t eat blubber, we don’t have a President, etc.

“Nine times out of ten, particularly in English-speaking Canada, what we’re defining ourselves against is the spectre of America—if I had a dollar for every time a student of mine from somewhere else in the world asked me to admit there’s basically no difference between us and the U.S., I’d eat free for at least a week. Before that, however, it was about wanting to still be part of the British Empire even after they didn’t have any use for us, and these days it’s about how our vaunted multiculturalism mainly provides a way for us to stay in insular little groups and only interact when forced to. Which does, in the end, actually stem from geography: We’re a country the size of the former Soviet Union with a population the size of California spread out across a very disparate series of environments, most of whom still maintain they were tricked into becoming part of one country united by a railway and a radio-television network.

“When you get down to it, our national self-image is entirely imposed from the outside, a generalization cobbled together from dreams and guilt, then historically distributed through a Film Board put together by a socialist Scots expatriate who hated Hollywood and a Broadcast Corporation run from Ottawa. No wonder we’re so unable to explain what sets us apart. I always think about the title of one of Alice Munro’s early short story collections, Who Do You Think You Are?, because it perfectly encapsulates the sort of crushing self-doubt and left-over British class system resentment of the individual’s capacity for change in the face of static stagnation that defines the heart of the non-indigenous Canadian experience. And while it’s slightly different when set within an urban context, it’s not even vaguely as different as most of us would like to think.

“Which is all a very roundabout way of saying that there’s a big empty place in the Canadian psyche that takes extremely well to fantasy. Hell, even our “non-genre” literature tends to have a massive streak of surrealism and magic realism in it—think about the work of Michael Ondaatje (a poet turned prose writer, which happens a lot up here), Wayson Choy, Paul Quarrington, Derek McCormack, Michael Helm, Anne-Marie McDonald, Barbara Gowdy, Margaret Laurence, Anne Hébert, Atwood herself. But whether you’re talking about Charles de Lint and Guy Gavriel Kay or Susie Moloney, Andrew Pyper and Michael Rowe, our fantasy tends to be rooted in the uncomfortable, the self-reflective, the place where power and freedom come with a price, one that must be paid knowingly, and in blood. We accept coincidence and synchronicity, but also understand hubris, and karma. We expect doom at best, failure at worst. It’s bleak, but it’s familiar, especially to somebody who likes horror.”

https://speculatingcanada.wordpress.com/2012/12/13/interview-with-gemma-files/

 

Jerome Stueart:

“I think Canadian SF is darker and more experimental than mainstream American SF.  I think the publishing industry allows for more kinds of individual author development—we have smaller publishers with greater weight in Canada.  In the States, where every microgenre gets codified and calcified, I see a lot more of the same stuff coming out for consumers.  I see a lot more undefinable genre in Canadian SF.  A freedom because, partly, there’s not a lot of fame on the table, but also because there’s a desire to create a Canadian SF.  It looks like we’re nowhere near nailing a specific kind of SF, though, more inviting people to play.  Look at Evolve from Edge—the SF future of vampires; look at anything Chizine is doing, which is so out there!  It massacres genre-expectations.  It also gives authors so much freedom.

“Canada has the opportunity to show what the future of Canada will be through SF, and use our regional identities as a way to forge a truly unique version of Canadian SF.”

https://speculatingcanada.wordpress.com/2012/12/18/interview-with-jerome-stueart/

Year in Review: Speculative Fiction Versus Realist Fiction – from the authors

Alien mountieWell, we have had an amazing year in 2012 on Speculating Canada…. one could even describe it as a fantastic year. Although Speculating Canada has only been around since July, it has been an incredible opportunity to explore Canadian Speculative Fiction and explore the incredible amounts of knowledge that authors bring into the world and lens that they place on exploring social issues.

Re-reading all of the interview posts, I am reminded of how incredible these interviews were and the gems of information and insight that writers have provided. I hope you enjoy being re-enlightened by our authors. Every interview I have done has been an incredible learning experience for me.

claudegeo

Author photo courtesy of Claude Lalumiere

Claude Lalumiere:

”So many authors who work within realism do not realize that they are operating within the confines of a genre with very specific rules and tropes. I’m not a fan of realism’s hegemonic stature in literature and culture in general. There’s nothing inferior about romance (in the classical sense) or escapism. All fiction is literature, all fiction is art. That doesn’t mean that all of it is good, but there’s good stuff and bad stuff in all genres, including realism.

“Fantastic fiction (as I like to call it) does have the quality of seeming to have no restrictions whatsoever. And that journey into the unknown can be thrilling, dangerous, intoxicating, wondrous – or, best of all, all of that at once.”

“My fiction tends to ask questions, not provide answers.”

https://speculatingcanada.wordpress.com/2012/08/01/interview-with-claude-lalumiere/

Steve Vernon:

Steve Vernon with a beaver... so Canadian!!

Author photo courtesy of Steve Vernon

“Monster stories help instill the belief that the human spirit can will out and triumph over the power of evil.”

“I’ve long been fascinated with seeing how ordinary people deal with the face of evil. That’s who my favorite characters are – just regular downhome kind of people. I like to imagine them brave and wild and romantic and full of life – because we all have that potential buried deep inside ourselves. So – when I sat down to write Sudden Death Overtime I just took the toughest people I had ever dreamed of and threw them up against the forces of darkness.”

https://speculatingcanada.wordpress.com/2012/08/06/interview-with-steve-vernon/

Ian Rogers:

Ian Rogers Author Photo, courtesy of the author.

Author photo courtesy of Ian Rogers

“I’ve always said that if people are only interested in my work purely as entertainment, then I’m cool with that. I think every story needs to keep the reader amused as the first goal. If your story is full of theme and depth, but it’s boring as all hell, then who cares how deep your work is, or how much inner meaning there is, because no one’s going to bother to read it anyway! And quite frankly, if you are consciously trying to pound a message or meaning into your story, I assure you it’s going to come across that way to the reader and they will be turned off. Guaranteed. The best stories with meaning or theme or depth are the ones that allow the readers to come to those conclusions naturally and on their own terms.”

“When I write a story I’m trying to come up with something that, while entertaining, also makes some sort of sense. It doesn’t mean I believe in ghosts or monsters, but it’s important that my characters do. Part of building a world where these things exist is to cement them in the world I know.”

“I’ve always felt that it’s the little things, and the little “real” things, that truly make a story. Sometimes it’s realistic dialogue, sometimes it’s a strange habit of one of the characters. Whatever it is, it’s usually a small touch, but it goes a long way toward making the reader feel more at home in the story, and consequently more accepting of the fantasy you’re trying to give them.”

“I think most people have an inherent attraction to the fantastical. Ironically, the spec fic stories I like best are the ones that are rooted in some semblance of reality. The ones that seem like they could actually happen. In terms of horror fiction, I find that sense of realism adds to the feeling of terror and dread.”

“I think there’s more to horror fiction that a monster or a supernatural element. Lots of things that may not seem horrific on the surface can be turned into a horror story. That’s one of the great things about horror. It’s insidious in the way it can sneak into a story — a story that might not be neatly slotted in the Horror section at the local bookstore.”

https://speculatingcanada.wordpress.com/2012/08/23/interview-with-ian-rogers/

Nancy Kilpatrick:

Photo courtesy of Nancy Kilpatrick

Author photo courtesy of Nancy Kilpatrick

“We’ve become politically correct, which isn’t always repression.  Sometimes it entails a true acceptance of ‘other’, the ‘other’ being someone or something that is not us and previously was suspect and/or frightening.  Because we no longer see strangers as monstrous, we no longer see monsters as strangers.”

“I’m focused on readers first.  My readers are not run-of-the-mill people.  They are smart and like my dark take on material.”

https://speculatingcanada.wordpress.com/2012/09/15/interview-with-nancy-kilpatrick/

Paul Marlowe:

Author Photo courtesy of Paul Marlowe

Author Photo courtesy of Paul Marlowe

“There was a time when it was considered normal to imagine the future of Canada, and to work towards building that future. Now, with it more important than ever to imagine alternative futures, we avoid it, because taking the future seriously would require making drastic changes right now in the lifestyle of affluence and luxury we enjoy, and would require terrible sacrifices – like driving our cars less, or not taking that flight to Florida. We’ve grown used to thinking of sacrifice as someone else’s job.

“Speculative fiction has as one of its goals the imagination of alternative futures. It also reconsiders the past. Not infrequently it raises big questions. By sidelining it, and focusing exclusively on fiction dealing either with the present and the narrowly personal, or resuscitating yesterday’s controversies, we’re avoiding some of the major problems – like global warming, population, distribution of wealth, mass extinction, the ethics of technology, the role of government in pursuing the common good, the increasing alienation of people from their own governments, the individual vs the group, and threats to individual privacy – that will dominate history in the coming generations. While speculative fiction doesn’t exist simply to prophesy or to provide political stimulus, it offers the opportunity for those kinds of explorations.”

“By looking past immediate present experience at possible worlds, good SF can offer what is so needed but so little found: intelligent thought about the world beyond our own little rut. The problem it faces is whether anyone is interested in hearing what SF writers have to say, and whether – in the welter of distraction that we’re immersed in – stories make any real difference.”

“If SF is to have an influence not only on where Canada is heading, but on where humanity is heading, it will have to do something other than shock us will apocalyptic visions, since those have become entertainment. It will have to make us think.”

“If the books contain thought-provoking ideas, too, so much the better. In that environment, SF is not at such a disadvantage.”

“The criticism often levelled at SF by Lit types and by more literal-minded readers – that it is “mere escapism” – has less sting when directed at YA books because adults sometimes condescend to allow children the opportunity to indulge in frivolous pass-times, such as imagination.”

https://speculatingcanada.wordpress.com/2012/09/18/an-interview-with-paul-marlowe-about-the-wellborn-conspiracy-series/

IMG_2426

Author photo courtesy of Douglas Smith

Douglas Smith:

“I don’t really differentiate between the human and non-human characters. Writing a story for me means understanding my characters and telling the story via their journeys through it. An alien may be completely different from us in physiology, intelligence, culture, spiritual beliefs, and moral code, but all sentient creatures will be motivated by something, both as a race and as individuals. It’s just a matter of understanding what is important to a character.”

“If there is a social issue that a writer wishes to explore and bring attention to, speculative fiction provides the freedom through its “distorted mirror” to let a writer bring whatever focus they desire to that issue. I really see no limits. Rather, I think that SF&F offer more options for doing so than within the restrictions of mainstream mimetic fiction.”

“Fantasy or SF can use other worlds–future or alternate–to focus on aspects of our real world, our shared beliefs, our conflicting beliefs, our humanity, our inhumanity, our potential, our failings, to let us view ourselves through a different lens, at a slightly different angle. Speculative fiction, by the very nature of its unreality, can make us see our reality in ways that mimetic fiction cannot. How we relate to those views, which messages resonate with us as individual readers, can then tell us something about ourselves.”

“I think that the [Speculative Fiction] genre’s greatest power as a literature is, to paraphrase the great SF anthologist Damon Knight, to hold up a distorted mirror to our current reality, to focus on some aspect of our world which needs to change (in the writer’s opinion). It’s that “if this goes on…” type of story that allows SF to provide a social commentary in a way that mimetic fiction cannot.

“That’s the power of SF and fantasy (and I’d put SF as a specific subset of fantasy)–there are fewer (no?) limitations to the types of stories that I can tell. The stories still need an internal logic and consistency, but I’m not bound by any concerns of matching current reality. That is wonderfully freeing for a writer.”

https://speculatingcanada.wordpress.com/2012/10/06/interview-with-douglas-smith/

Kelley Armstrong:

Photo of Derek Newman-Stille and Kelley Armstrong at Trent University's Alumni House

Photo of Derek Newman-Stille and Kelley Armstrong at Trent University’s Alumni House

“The supernatural can be a way of showing people dealing with issues in a larger-than-life fashion. I often have issues of identity in mine—finding one’s true self, accepting the self, finding one’s place in society. Having a character deal with being, for example, a werewolf lets me do that in a fun and entertaining way.”

“Speculative fiction helps expand the world of possibilities. Readers—and students—see new possibilities for new ways of thinking and living. The fact that it takes place in a fantastical world often makes it easier to consider those challenges and issues, divorced from the emotional baggage of a reader’s own world or experience. For example, science fiction novels often include elements of racism—how does one alien race treat another—and that allows readers to consider the issues in an abstract way and then transfer those ideas over to the realm of their own world and experience.”

https://speculatingcanada.wordpress.com/2012/10/17/interview-with-kelley-armstrong/

Chadwick Ginther:

Author photo courtesy of Chadwick Ginther

Author photo courtesy of Chadwick Ginther

“People call speculative fiction “escapist,” as if that is a bad thing. I live a realistic life. Why would I want to spend my time writing about only the drudgery of everyday. I want things to happen. Things that couldn’t happen to me. But that doesn’t mean good prose has to be sacrificed for plot. With mythic fiction, and really all of speculative fiction, I can have my cake and eat it too. I can have an exploration of deep philosophical issues or the nature of humanity side by side with big, bold ideas and an action-packed read. I can’t think of another art form that blends the two sensibilities better than speculative fiction does. Besides which, all fiction is fantasy. Even if a writer is basing a story on real events or real people, they are inventing thoughts and feelings and the little details. Fiction by definition isn’t true, but it can hold truth—even when you’re writing about the god of lies.”

“I don’t think Mythology will ever stop being relevant. It was our ancestors’ way of trying to explain what they couldn’t understand. At their core, people have the same basic desires, faults and virtues as we ever have, some of us are kind, some jealous; we’ll always be able to see something of ourselves in these stories from the past. Otherwise the myths would have faded with their original tellers.”

https://speculatingcanada.wordpress.com/2012/10/22/chadwick-ginther-interview/

P1050968

Author photo courtesy of Karen Dudley

Karen Dudley:

“[Writing Speculative Fiction] can liberate you! I’ve written four contemporary mystery novels, and when I started to write Food for the Gods, it took me a while to realize that I didn’t have to be limited by reality. Gods crashing dinner parties? No problem. Furies attacking the Athenian marketplace? Why not? It was incredibly freeing. As a writer, speculative fiction allows you to take your characters that much further. They’re still human, of course (well, most of them are), but you’re taking them beyond the normal human experience and seeing how they deal with it. It’s a lot of fun!

“At the same time, of course, speculative fiction has always been used to reflect or comment on contemporary issues and society through the creation of worlds that are different from our own, but still recognizable. While Food for the Gods isn’t intended to be political in any way, it still allowed me to address some timeless themes—including the trials of being an outsider in a foreign land; the need to escape the “sins of the father”; and the complex and sometimes treacherous relationship between people and their gods.”

“The truth is that mythology spells out all the things we want, fear, hope, and dream in pretty basic imagery and themes. These are not timeworn tales with nothing to say to us, because our fears and desires really haven’t changed since these stories were born. They illuminate us, they transform us. That’s why ‘old’ myths still resonate.”

https://speculatingcanada.wordpress.com/2012/10/26/interview-with-karen-dudley-about-food-for-the-gods/

Liz Strange:

Photo of Liz Strange (Courtesy of Liz Strange)

Author photo courtesy of Liz Strange

“The monster is romantic and sympathetic, because it lives in all of us. Human beings are complicated, challenging, frustrating, wondrous beings, capable of many things both inspiring and horrifying.”

“I like my readers to be entertained, first and foremost, but I also like to spark some interest in things they may never have thought of before. I like to intrigue, incite curiosity and challenge people to think outside their comfort zone. The world is a big place, full of wonder, mystery, beauty and misery.”

https://speculatingcanada.wordpress.com/2012/11/06/interview-with-liz-strange/

Helen Marshall:

Author Photo Courtesy of Helen Marshall

Author Photo Courtesy of Helen Marshall

“Weird fiction, at its best, unsettles us. Realist fiction can also do that, but that isn’t necessarily its goal. I love the idea of a kind of writing designed deliberately to shock, to surprise, to unbalance and unnerve. It has a kind of intensity to it, and it makes us consider ourselves from oblique angles rather than head-on.”

“For me ghosts are terrifying because they are us. What I see when I look at a ghost is myself. And so if the ghost is really just an image of your own future—that is, you when you are dead, the you that you can’t comprehend or imagine—then in some way you are also the ghost of your own future self. We leave things behind, and mostly those things are former versions of ourselves. It seems natural, then, that ghosts are also a figure for something that wants to be remembered, even if we want desperately to forget it.”

“What I try to do is find a bizarre premise and use it as a way into something that is deeply emotional: every new oddity ought to feel like a natural extension of the rules of the world. It feels like it fits. For me, the process of writing strange fiction is falling into a world where each new revelation comes with a shock—but also with a sense of recognition.”

https://speculatingcanada.wordpress.com/2012/11/15/interview-with-helen-marshall/

nina-fireplace-crop01-close2-web

Author photo courtesy of Nina Munteanu

Nina Munteanu:

“The literature of the fantastic: speculative literature, science fiction, fantasy… explore—nay—celebrate and bridge the gap between logic and imagination, the mundane and the extraordinary, the known and the strange, order and infinite possibility.”

“Curiosity is a wonderful trait to cultivate. When you’re curious you step outside of yourself into a wonderful world. One of the things I re-learned from my son was how to stop and look. Really look, as in bend down on hands and knees and peer close, get dirty. Curiosity feeds our souls. It slows us down so we can pay attention. It teaches us to be interested in our world, to observe and feel. It helps us crawl outside the box, peer around corners into dark alleys where thrilling adventure lurks.”

“The science fiction genre is the pre-eminent literature of allegory and metaphor. By describing “the other” (what does not yet exist, what might never exist) science fiction writers describe “us”. Through our POV characters and their world’s reactions to the unknown.

“Speculative fiction predicts consequence to current conditions. It projects into the future or alternate reality from current paradigms in science, technology and society. Speculative fiction uses the premise, “What if?”:  “What if this continued?” “What if we used that this way?”; “What if this caused that?”. It provides the proverbial “canary in the mine” on society. Where realist fiction makes commentary on our current society, speculative fiction takes that commentary into the realm of consequence by showing it to us in living colour. It is the ghost of future, present and past to our Scrooge. The arm of speculative fiction reaches far. This is its power over realist fiction and why, I think, mainstream realist authors like Margaret Atwood have discovered and embraced this genre (her latest three books are all speculative fiction). Speculative fiction doesn’t just “tell us”; it can “show us”.”

https://speculatingcanada.wordpress.com/2012/11/27/interview-with-nina-munteanu/

Nancy Baker:

Author photo courtesy of Nancy Baker

Author photo courtesy of Nancy Baker

“At its best, horror and fantastic literature can show us the darkness that humans are capable of and to reveal that the reader shares that potential.  It can also show us that the “other” is sometimes as deserving of compassion as we hope that we are.”

“Vampire fiction has been used to look at issues of addiction, oppression, disease, predation, and sexuality.  It’s also been used just to scare the hell out of us.  Every new generation of readers and writers has the advantage of looking at what came before (from the classics such as Carmilla and Dracula to Salem’s Lot and Interview with the Vampire to Twilight and The Passage) and reacting to it, either by emulating it or turning it on its head.

https://speculatingcanada.wordpress.com/2012/12/05/interview-with-nancy-baker/

Gemma Files:

Author photo courtesy of Gemma Files

Author photo courtesy of Gemma Files

“Because I work primarily in the field of horror, the idea of the Alien—the Other—is a really integral one, one which underlies an amazing amount of human psychology. You see it all through history, and it’s not like it’s gone away: This impulse to say some people are different and therefore lesser, undeserving of sympathy, actively malign—people we can call animals, monsters, and feel perfectly fine about routinely trying to contain, police, punish or even exterminate. But the flip-side of this impulse is the realization that “monsters”, Others, Aliens are almost never as different from you as they seem. That you, in fact, are most often a monster’s “monster”.

“This is a hard lesson, but a useful one, and Speculative Fiction explores it constantly, over and over. And it does that, I believe, because people both know in their gut that it’s true yet hope against hope that it’s not. This tension drives almost everything, and it’s testing this tension which is Speculative Fiction’s most useful quality, potentially: Our ability to tell and re-tell ourselves metaphorical fables about the things that are happening all around us, set in some pleasantly distant future, past or alternative universe, which may possibly help us to make good decisions about the here and now.”

“Magic is a fantasy of ultimate power in a mainly-powerless world, but our own self-knowledge quotient means that we know the shadow lurks underneath everything—that whatever good we do by magic means is bound to sour, especially if improperly paid for. We’ve all read most of the same fairytales, so the principles always seem familiar: Horror is fluid, and just like in folklore, the general principle of horror is not only that things can always change, but that if—when—they do, it’ll probably be something that you did which is the cause of that change. Which is sort of positive, in a way…therapeutic, almost. Monstrosity is not a permanent state, or doesn’t have to be, so long as one understands but doesn’t excuse one’s own nature and takes responsibility for one’s own actions.”

https://speculatingcanada.wordpress.com/2012/12/13/interview-with-gemma-files/

Jerome Stueart:

Author photo courtesy of Jerome Stueart

Author photo courtesy of Jerome Stueart

“Speculation is about seeing natural consequences, about thinking about choices and figuring out where they will lead, and about large-scale societal consequences.  I think speculative fiction is the reason we don’t condone cloning, or have nuclear war—science fiction showed us that there are no good ways of having those, and we believed them.  Silent Spring is a “speculative novel” written as nonfiction by Rachel Carson with such an apocalyptic vision of the dangers of DDT and other chemicals we were putting on crops and in the air—with real evidence– that it scared people into regulation.  Carson used speculative tools to give reason to turn the boat around.

“Unfortunately, speculation in the wrong hands can just be fear-mongering.  Recent commercials against Obama speculated a world four years from now full of apocalypse!  Without any evidence.  It was cheap scare tactics, but they worked on some people who couldn’t extrapolate from evidence, or who couldn’t question the premises or the evidence.  I saw that in both political parties.  If we don’t “produce” thinking minds—in every place in society—fear mongering will work, evidence won’t count.  That scares me.

“Climate Change has to find a way to alert people to change without becoming alarmist—but we have a society less-inclined to think for themselves now, and less-inclined to value knowledge and preventative measures.  We’re all about reacting now.  We’re all about consuming.  We’re living like it’s the last days on Earth and we want our feast.  Anyone who says we have to “cut back” which is the message of climate change—restraint—is taking away “our fun.”  We are such a Mine Culture, not a Mind Culture.  We may live together, but we don’t think together.

“I would put MORE speculative literature in the classroom starting with Kim Stanley Robinson’s climate change series, Science in the Capital—or his Three Californias. I would teach kids to imagine their own futures—what will they be doing 20 years from now, and what will society be like.  What do they WANT society to be like?  And where do they see the forces in control trying to lead us?  Kids can be taught to think speculatively and use it wisely. “

“I think SF can help us get ready for change, and see change as positive and desirable.  We get in our ruts.  If we want the Star Trek universe—we’re gonna have to work for it.  LOL.  But I think it can examine multiple paths for us—examining all possible scenarios and showing us a positive path.

“The danger of SF, though, is that it inherently likes NOT so positive paths.  They present more of what readers desire: conflict, danger, suspense.  So we get much more apocalyptic SF which shows us what NOT to do, but rarely shows us HOW to get to the change.

“The challenge for SF writers is to imagine us a path to get to the change and show it as a positive one.  And that I think is the most fun.  Star Trek cheated a bit by shooting so far in the future that all those things like poverty, greed, violence, were all gone by the 24th century.  We’ve been spending the last 45 years trying to figure out how Gene thought that might happen!  But at least it modeled diversity for us.  I recall Nichelle Nichols’ wonderful story of her encounter with Martin Luther King, Jr. just before she was about to quit the show.  He encourages her to stay on because he too believes that SF is the literature of change.  He saw her presence on the bridge as a model for behavior and hope for a positive future beyond Race.  So in this way, SF is a model for change—it models good behavior, even if it doesn’t have all the answers.”

“Maybe that’s the greatest strength of SF—it has a wide angled lens.  SF is about commenting on societal problems more than character problems.  Maybe that’s why the characters can be more universal, and sometimes flatter, because SF is interested in the “what if” of the story—the what if of the society.  It can handle a universal character because the society is what we want to examine in SF, and the choices a society makes.

“But again, it also has a chance to be more society-scaled prescriptive—and model societal behavior and model change that realistic fiction can’t.  SF is the quantum reality of realistic fiction.  While realistic fiction might concentrate on individuals and their changes, SF goes wide to take the choices and changes of a large group.“

https://speculatingcanada.wordpress.com/2012/12/18/interview-with-jerome-stueart/

Noah Chinn:

Author photo courtesy of Noah Chinn

Author photo courtesy of Noah Chinn

“You’re not constrained by reality to get your message across. You could write a story about banning books in a realistic fiction story set in modern day, sure.  But what if you wanted to take it further to get your point across? It would be of hard to write something with the impact of Fahrenheit 451 without creating a society in which all books are banned.  You need to think not only of why, but what form that world would take, how people live their lives, the consequences of that culture on people’s behavior, and so on.  You need to create a world that doesn’t exist, but you can believe could – even if only for the duration of the story.”

https://speculatingcanada.wordpress.com/2012/12/26/interview-with-noah-chinn/

Being ‘Othered’ in the Otherworld.

A Review of Kelley Armstrong’s Spell Bound (Vintage Canada, 2012).
By Derek Newman-Stille

Cover photo courtesy of Kelley Armstrong

When you define yourself by your abilities, by the powers that make you distinct from others, what happens when you lose those powers? Kelley Armstrong explores this question in Spell Bound, the twelfth book in her Women of the Otherworld series. In Armstrong’s world, supernaturals are rare, and represent a small part of the population. They are born into categories of supernatural race: werewolf, vampires, witch, sorcerer, half demon. They can’t acquire these powers except through their own birth, or, on a few rare exceptions, through a bite.  They are minority groups, surrounded by a huge sea of humanity, but now some of them want to acknowledge their existence: come out of the coffin, out of the broom closet, out of the woods.

Savannah Levine is trapped in the middle of the struggle to come out. Most of her is interested in maintaining the status quo of secrecy among supernaturals (though there is still a part of her that revels in the idea of being open about her powers), but the supernatural group that wants to reveal themselves and the existence of all other supernatural races to the world has a huge interest in her. Savannah is unique – a blend of the bloodlines of a witch and a sorcerer (which is normally impossible), with a little bit of demon blood in the mix. This uniqueness makes her fascinating enough, but she also fulfills one of the group’s prophesies, making her an icon that could be used to gather interest from others.

This is all further complicated by the fact that the thing that makes her a witch, the thing that distinguishes her as a supernatural and other than human – her magic – has been taken from her. She experiences a loss of identity, the search for herself and what her new life without powers could mean, and the general sense of helplessness that comes with a rapid change in ability. Savannah worries that she has lost an essential part of herself that defined her as a member of a community, and fears the way she will be treated by friends and family now that she has changed. Her experience mirrors that of many people who acquire disabilities later in life: she has to learn new ways of doing things, she accidentally falls back on what worked before her body changed, there are moments when she feels globally disabled instead of seeing her disability as an isolated part of her overall abilities, and she fears that her new disability will mean that she will be treated in a fundamentally different way by her social circles. Armstrong complicates the disability trope in this novel by also creating a character whose outsider identity is based on belonging to a group that is defined by the very ability she has lost. Savannah is left feeling like a double outsider, cast as an ‘Other’ by her identity as a witch, and then further ‘Othered’ by the loss of the thing that most defines her as a member of that group: her powers. She is left in a place between identities and this is fantastic place to explore notions of identity itself.

As with most of the books in the Women of the Otherworld series, in Spell Bound Armstrong shows an incredible grasp of the psychology of her characters, an understanding of what the character’s innermost thoughts and feelings would be while experiencing supernatural turmoil. She infuses the question of identity and supernatural psychology with an exciting, fast-paced plot and twists and turns that illustrate the defining humanity of her not-quite-human characters.

You can discover more about Kelley Armstrong and her Women of the Otherworld series at http://www.kelleyarmstrong.com/ .

Interview with Kelley Armstrong

An Interview with Kelley Armstrong by Derek Newman-Stille

Photo of Kelley Armstrong (centre) with Ellen Bentzen (left) and Derek Newman-Stille (right) at a lecture at Peter Gzowski College, Trent University.

Kelley Armstrong was the first Canadian author of the fantastic that I found and enjoyed. A few years ago, I was able to have Ms. Armstrong visit Trent University to be an author in residence for Trent’s Champlain College and Gzowski College. It was an incredible experience for our students and an amazing experience for myself. I want to thank her for this opportunity to do an interview.

Kelley Armstrong is the author of the Otherworld series and the Nadia Stafford Series.

Spec Can: Could you tell us a little bit about yourself to begin the interview?

Kelley Armstrong: I’m the author of the “Women of the Otherworld” paranormal suspense series and “Darkest Powers/Darkness Rising” young adult urban fantasy series, as well as the Nadia Stafford crime series.  I grew up in Southwestern Ontario and I still live there with my family.

Spec Can: One of the things that really impresses me about your work is your ability to get into the psychology of the monster and really understand what feelings and hopes they have. Do you feel that your background in psychology helps you to explore the minds of your characters?

Kelley Armstrong: I like to think it helps me with character development.  If I want a character to turn out a certain way, I can come up with a back-story to explain her personality.  Likewise I can start with a life experience and decide how it could affect a character.

Spec Can: What aspects of your Canadian identity have influenced your authorship?

Kelley Armstrong: It makes it easier to do Canadian characters and settings [smiles] On the other hand, it makes it harder to do American ones, and that’s where a lot of my stories are set, for the simple fact that I can have a larger cast of supernaturals that way—it’s easier to speculate that so many supernatural beings go unnoticed if the population is much larger. Beyond that, I don’t feel it’s had much impact on my opportunities as an author or how I’m treated.

Spec Can: What is different about Canadian stories of the supernatural from those of other nations?

Kelley Armstrong: There are differences in the markets. What is a bestseller in the US will not necessarily be a bestseller in Britain. That’s the same for all geographic areas—Canada also has differences from both. The literature produced in our country reflects the differences in regional taste. I’m not sure it affects the supernatural aspects of the story as much as the general ones—the tone, the themes etc.

Spec Can: What teaching role can speculative fiction have?

Kelley Armstrong: Speculative fiction helps expand the world of possibilities. Readers—and students—see new possibilities for new ways of thinking and living. The fact that it takes place in a fantastical world often makes it easier to consider those challenges and issues, divorced from the emotional baggage of a reader’s own world or experience. For example, science fiction novels often include elements of racism—how does one alien race treat another—and that allows readers to consider the issues in an abstract way and then transfer those ideas over to the realm of their own world and experience.

Spec Can:  What challenges and opportunities did you have when beginning to expand your writing interests into YA / Teen Fiction?

Kelley Armstrong: I’d had an idea for a YA novel for a while (arising from the plot of Stolen) But I didn’t feel ready to tackle a teen narrator until my own daughter was old enough to help me with establishing the voice. Few things are uglier in YA than getting the point of view of a “teen” from an author who obviously hasn’t been a teen in a very long time! That was the biggest challenge. The biggest opportunity was the chance to write for a whole different market, which included my own children.

Spec Can: What were the key differences in writing characters for YA than for adult fiction?

Kelley Armstrong: While I cover a lot of narrator ages in my adult series, teens are much different.  There’s the dialogue of course—making the characters sound like teens.  But when I’m writing adults, whether they’re 25 or 45, they’re dealing with a similar set of issues (jobs, finances, marriage & children). Teens are at a different place in their lives, and the characters need to reflect that.  They also have a limited set of tools for dealing with problems.  If I have an adult character on the run, they can empty their bank accounts, get fake ID, hop on a plane and rent a hiding place.  Fifteen-year-olds can’t.

Spec Can:  What drew you to write about the supernatural?

Kelley Armstrong: I’ve been fascinated by the paranormal since I was a child.  I blame it on too many Saturday mornings watching Scooby-Doo.  By now, I have no idea why I’m so attracted to it—I just know that I love writing in this genre.

Spec Can:  What myths of the monstrous and magical do you draw on when you write?

Kelley Armstrong: I cherry-pick from as much existing folklore as I can find, to create creatures that best suits my vision, always looking at which traits would make the most logical sense if such creatures really did exist undetected in contemporary society.

Spec Can: What is distinct or different about the supernatural characters you create?

Kelley Armstrong: Nothing is uniquely my own.  Where I deviate from the more common myth (like needing silver bullets to kill werewolves) I make those decisions based on what I consider most plausible.  If werewolves needed silver bullets to die, what happens when they’re involved in what should be life-ending situations, like being run over by a transport truck?  Do they just get up and walk away?  Wouldn’t someone notice?  For me, in the world I created, it made more sense if they could be killed by any means a human can be killed. But there’s plenty of folklore where werewolves can be killed by any means, so I’m not distinct there. I’m just selecting a less common trait.

Spec Can: What werewolf myths do you create and how are they different than the werewolves of other authors?

Kelley Armstrong: The most common werewolf in the twentieth century was the “man-killing beast,” some guy who changes into an ape-like or bear-like creature every full moon and ravages the countryside killing everything in sight.  That’s scary, as monsters go, but it doesn’t really explain why such a creature is a werewolf.  Wolves avoid humans.  Wolf attacks on humans are extremely rare. I chose the portrayal that re-asserted the “wolf” in “werewolf.”  Variations on it have been done many times, so it’s nothing new.

Spec Can: Where do you think Canadian supernatural fiction is heading from here?

Kelley Armstrong: I don’t think it’s heading anywhere different than supernatural fiction in general, which is beginning a downswing. It will never go away completely, but the market will be smaller.

Spec Can: What is the role of “Otherness” and the figure of the outsider in your work?

Kelley Armstrong: Well, the series is called “The Otherworld.” [Smiles] That’s a common term for a supernatural subculture within a contemporary society. It emphasizes the otherness of the people there. They form their own culture, based on that which makes them different from others.

Spec Can: What is the role of gender in your Otherworld series?

Kelley Armstrong: My goal is to let it play as small a role as possible. Of course characters are male or female, and shaped by that, but otherwise, as characters, they are equal—just as likely to be strong or weak, good or bad, intelligent and capable… or not.

Spec Can: Your character Elena is the only female werewolf in the world of the Otherworld. What significance was there in creating a single female werewolf? What issues did you want to explore by focusing on her femininity?

Kelley Armstrong: In a lot of the folklore, werewolves are male. This seems to arise from the use of werewolves to explain brutal behavior by people—they did it because they’re really part beast. Women represent a small percentage of serial killers and mass murderers (and, if they are responsible for multiple deaths, they usually use less bloody methods, like poisoning). So most werewolves in folklore are male. That made it easy for me to postulate a male-line genetic basis for it, and therefore have a single female, then explore what it would be like to be a woman in that very male-dominated world.

Spec Can: What is the role of characters hiding themselves and ‘passing’ as human?

Kelley Armstrong: My characters struggle with the same problems as everyone else–family, romance, career, friends.  While it’s fun to create a vampire rock star, it takes a fantastical being and puts him in a “fantasy” lifestyle.  Readers can relate better to supernaturals who are programmers, lawyers, journalists, professors etc.  It’s also possible to create a world where everyone knows about the supernaturals, but that opened up problems and scenarios that didn’t really interest me. I was more interested in the identity issue of hiding one’s true self rather than the issues of fitting into society when you are openly different.

Spec Can: Even though your characters are supernatural, they reveal a lot about the natural and the human experience. What is the role of the supernatural for revealing things about human beings and society?

Kelley Armstrong: The supernatural can be a way of showing people dealing with issues in a larger-than-life fashion. I often have issues of identity in mine—finding one’s true self, accepting the self, finding one’s place in society. Having a character deal with being, for example, a werewolf lets me do that in a fun and entertaining way.

Spec Can: Do your characters ever take you to places that you didn’t intend to go? Do they take on personalities of their own?

Kelley Armstrong: I’ve had several characters that didn’t turn out the way I envisioned them in the plotting stage, usually minor characters.  One was Zoe, the vampire thief in Broken.  I’d originally pictured her as a possible romantic interest for my bachelor werewolf, Nick.  Their personalities would have gone well together.  Except that once she came alive on the page, she was a lesbian…which was a bit of an obstacle to my matchmaking plans [Smiles]

Spec Can: What is the role of race and ethnicity in your work?

Kelley Armstrong: My work is more concerned with supernatural race—how does being a witch or a sorcerer impact your life, how do you deal with those prejudices and expectations. Otherwise, it’s like sexuality. The characters are what they are, as they appear to me when I create them. They aren’t homogenously white and heterosexual, but I’m not checking off boxes either, to make sure I’m accurately representing modern society. In these books, it’s the supernatural type representation that’s more important for the stories I’m telling.

Spec Can: What is the virtue of creating characters outside of the mainstream?

Kelley Armstrong: They’re more interesting! [Smiles] You can explore different types of situations and explore them in unique ways. Of course, it’s also interesting to take a mainstream character and put them into those “outside of mainstream” situations, but I’ve found that my readership responds better to the outsiders.

Spec Can: What do you hope your readers will take away from reading your novels?

Kelley Armstrong: I hope they enjoyed it. That’s really all any writer can hope for—that a book did what it was supposed to and entertained them.

Spec Can: Several of your characters express a desire to learn about themselves and the feeling of not belonging. What makes characters who feel that they don’t belong so interesting?

Kelley Armstrong: I think it’s an issue that many readers deal with themselves. Most people feel that they are different from the mainstream in some way, which I think just means that mainstream is a far more narrow category than mass media would have us believe. Even the simple act of fiction reading isn’t often depicted in mainstream media—how often do characters seem to sit down with a book. Even if they do, it’s usually literary or “book club” not genre.

Spec Can: Your book Bitten has been picked up as a television series. How involved will you be in the writing process?

Kelley Armstrong: They’ve been keeping me informed and asking my opinion on various matters, but I’m well aware that this is their version of my story rather than a televised copy of it.

Spec Can: What makes supernatural characters so interesting to today’s audience?

Kelley Armstrong: They allow us to stretch our imaginations and ask “what if” beyond our normal reality–what if we could change into wolves, what if we could speak to the dead?  With supernatural fiction, it’s less of a stretch than traditional fantasy because we’re dealing with concepts most of us already understand (werewolves, vampires, ghosts)

Spec Can: What is the most challenging thing about writing the supernatural?

Kelley Armstrong: I used to say the world-building, because that’s a huge part of the work. It’s fun, but it is a challenge. Now, though, I’d say that an equally big challenge is standing out in a crowded market. In a way, that’s tougher. With world-building, I’m in control. I just need to do the work. I can’t control the market, though.

Spec Can: What was it like to be an author in residence at Trent University? Is there anything that you want to share about the experience with other authors?

Kelley Armstrong: I loved it! I always enjoy the chance to speak to young writers, and this was the

Photo of Kelley Armstrong with Jess Grover at Trent University’s Alumni House.

perfect opportunity. Everyone was wonderful and eager to learn, and that made it a very positive experience that I won’t forget.

Spec Can: What new projects are you currently working on? What new and exiting things should we be looking for from you over the next few years?

Kelley Armstrong: I’ve sold a new adult trilogy that has some supernatural elements, but is more mystery. The first book, Omens, comes out in October 2013. I’m also trying my hand at middle grade, having just sold a Norse-myth-based trilogy that’ll be co-written with Melissa Marr. Both will start in 2013.

You can find out more about Kelley Armstrong at her website http://www.kelleyarmstrong.com/ . You can read some of her free online fiction at http://www.kelleyarmstrong.com/free-online-fiction/

 I want to thank Kelley Armstrong for taking the time to do this interview and for letting readers know about her current projects. It has been a pleasure to talk to her again.