On the Horizon – Events of Writerly Interest

Every now and again I write a catch-all post to include some of the things on my writerly horizon. The ones in my immediate future may be of interest to those of you in the GTA (Greater Toronto Area for visitors from elsewhere on the globe).

Event #1 – Ontario Writers’ Conference FESTIVAL OF AUTHORS

Originally birthed at the Ontario Writers’ Conference, this legacy event of the now defunct annual conference promises to be an exciting evening out for writers and readers alike. The event takes place at Creative Math & Music (1064 Salk Rd., Units 5-7 Pickering, ON, L1W 4B5) on Friday March 31st, 2017 from 7;00pm-10:00pm. From the OWC website:

The Festival usually features:

  • entertaining interviews and inspiring author readings (see below)
  • opportunities to mingle with Canadian Authors, fellow writers and avid readers
  • voting for the winners of our Story Starters Contest
  • exciting prizes !

Announced thus far for the festival is the amazing TED BARRIS as emcee and award winning debut novelist ANN Y.K. CHOI. You can read more about the festival, including bios for both announced authors at THIS LINK FOR OWC FESTIVAL OF AUTHORS. I’ve had the pleasure of meeting Ted Barris, and of seeing him in action as an author interviewer and interviewee. An evening with Ted Barris is worth the price of admission. And I am right in the middle of reading Ann Choi’s KAY’S LUCKY COIN VARIETY from Simon & Schuster Canada. It’s a lovely coming-of-age story that takes place in Koreatown in Toronto in the 80s. I’m thoroughly enjoying it and hope to have it completed by the Festival on the 31st. Here’s a brief synopsis of the book from Goodreads:

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A bittersweet coming-of-age debut novel set in the Korean community in Toronto in the 1980s. This haunting coming-of-age story, told through the eyes of a rebellious young girl, vividly captures the struggles of families caught between two cultures in the 1980s. Family secrets, a lost sister, forbidden loves, domestic assaults—Mary discovers as she grows up that life is much more complicated than she had ever imagined. Her secret passion for her English teacher is filled with problems and with the arrival of a promising Korean suitor, Joon-Ho, events escalate in ways that she could never have imagined, catching the entire family in a web of deceit and violence. A unique and imaginative debut novel, Kay’s Lucky Coin Variety evocatively portrays the life of a young Korean Canadian girl who will not give up on her dreams or her family.

Keep watching the OWC website further further author announcement. And get your TICKETS soon, as they just may sell out!

Even#2 – WCDR Words of the Season

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This is a regular feature of the Writers’ Community of Durham Region. It’s an evening of readings from WCDR members and it features fiction, poetry, memoir, non-fiction, etc. Taking place this time around in Whitby, Words of the Season will happen on Tuesday April 4th, 2017. This is an open event and anyone is invited to attend. Simply show up at:

La Rosa Ristorante
3050 Garden Street
Unit 102
Whitby, ON

Arrive as early as 6:00 pm. Socialize, eat, enjoy a beverage – food and drink available for purchase. Performances start at 7:00 pm. Fully accessible venue.

Maaja Wentz will be emceeing this event. Members read, but anyone can come and listen. And stay for a meal.

I will be one of the readers this time around, reading from an upcoming novel.

Event #3 – April WCDR Roundtable Meeting

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WCDR Blue Pencil Extravaganza

This mostly monthly breakfast menu for the Writers’ Community of Durham Region is always lively…and always filled with approximately 100 writers from Durham and the rest of the GTA–an amazing feat in itself for a Saturday at 8:30am.

The APRIL meeting will feature what the WCDR is calling a BLUE PENCIL BONANZA. Foregoing the usual format of a GUEST SPEAKER, April will be set up as a hands-on critiquing meeting. Each table will feature a different genre and a professional in that genre will facilitate the table through a critique of sample pages submitted by members at the time of registration. Meeting attendees could either choose to participate by submitting their work ahead of time OR observe at the table of their choosing. Please note that NON-MEMBERS will not be permitted to submit samples. This is only open to WCDR MEMBERS.

This event takes place:

BISTRO 67 – Durham College, Centre for Food
1604 Champlain Avenue, Whitby ON

REGISTER TODAY!

ALL DETAILS ARE HERE.

LOOKING TO THE FUTURE:

The May 6th WCDR Roundtable Meeting will feature Guest Speaker TREVOR COLE. He will talk about “the early days of organized crime in Canada, before the First World War, when the Italian criminal underworld was known as the Black Hand. He’ll describe how it dovetailed with the beginnings of prohibition and led to the rise of Rocco Perri as the most powerful bootlegger and mob boss in southern Ontario.”

If I wasn’t leaving the continent on the very day this event is happening, I would most certainly be there. I hate to miss it.

Mr. Cole will also facilitate the AFTER-BREAKFAST MINI-WORKSHOP on May 6th >>>

How to Write Great Dialogue with Trevor Cole

I See a Ship in the Harbor…

 

I can and shall obey…

Ear-worms are fingers tapping your soul asking you to remember.

And I still find it so hard to say what I need to say.

What follows is mere rumination.

I’ve been imagining myself a playwright of late. Again. I’ve begun project after project…and even completed a couple (DETAILS TO FOLLOW IN THE COMING WEEKS).

When I started writing poetry, which may in fact be my first calisthenics endeavor with words, I thought, ‘this must be the hardest thing to write.’ Then I took on the short story and discovered poetry was easier than I thought…because the short story was near impossible. From there, I took on the novel…because it’s only MORE of a short, right? A longer short, if you will. How much more difficult could it be?

Was I in for a surprise! Culottes are not pants. The novel was difficult in its own unique way. I came upon issues that had nothing to do with the short story, even though they resemble one another in so many ways. I might argue that the short story is more difficult than the novel overall…because of what you have to put into it and the confined perimeters you are given and forced to squeeze those ingredients into. It’s a bit of a magic trick, really. But the novel…the endurance one needs to see it through to the end! The novel is almost a physical feat. It’s so exhausting.

All these word trials combined can’t really prepare one for playwriting. If novel writing is bringing a story to life, then playwriting is bringing characters to life. It’s about getting your characters to say precisely what they need to say. No FAT. No un-wanted words. It’s the novel without the movement, for the characters themselves perform the movement. You don’t get to DESCRIBE…you just get to talk.

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The great W. Somerset Maugham, 1942. Because he said a novelist can become a playwright…I write.

My ‘mentor’ and idol, W. Somerset Maugham, once said, “Thank God, I can look at a sunset now without having to think how to describe it.”  (Read his THE SUMMING UP) This was said in a sort of elation as he had moved from novel writing to play-writing. He was thrilled to be spending more time in dialogue and less tedious time building up the area around the talking. And I agree with him fully and completely.

But there is also an element of playwriting that is terrifying. It’s like removing all the trees the novel provides for shading. You are starkly naked against the stage. The reader is not going to be taking the description you wrote and running it through their imaginations and making it even bigger and better than what you originally gave them…AND crediting you with the entire picture formed by the marriage of your prose and their imaginations. The characters literally need to carry everything forward in a play. If it’s not seen and heard, it doesn’t happen.

And THIS is what I want for myself? THIS is my ultimate goal as a writer? To write conversations that must have the fortitude to stand alone? I must be crazy. Poetry makes the world prettier, short stories and novels makes the world vivid and in front of you and alive.

Plays, for the playwright at any rate, give only bodies talking. Theatre does not end with the playwright. Theatre merely begins at the end of the playwriting. The breath gets blown into the play via the director and the actors, and the dramaturge before that. The play is merely mud until those elements mould it into existence–words on paper. The playwright provides the mud and the director and actors mould it into the golem. The whole is a collaborative effort. Where a novelist needs no collaboration outside of those who polish their piece and make it its most presentable, the playwright needs a stable of people to carry their work forward. The novelist has to imagine a person sitting in a room, lounging in a chair, book in hand…their imagination knitting with the words on the page to form something greater than the sum of the novel’s parts. The playwright needs to count on the faith of many believers taking to the stage and presenting their words to a person sitting in a room, sitting in a chair, eyes wide open taking in the show. The playwright needs to step back and allow what it is they wrote to take on a new life, to become something other than what it is they wrote…something better.

I suppose there is always a collaboration. The novelist and the reader’s imagination. The playwright and the busload of people injecting the words with imagination, movement, and the business of performing them. I really must be crazy, because I do both of these things. But both are wildly rewarding in their own way. Each one gives back as much as you give into it. To see your words brought to life by actors on the stage is an alchemy I’ll never get used to. And to hear that your novel has touched a reader…untold joy. Every once in a while I reach a place of reflection and realize what these things mean to me. They are everything. The word is the light, indeed.

I’m writing a play right now, writing the conversations that will hopefully be brought to life on the stage. One must believe in that eventuality when writing a play. It is the only way for the play to be born…it must leave the page. Its characters must take flesh.

And with every line of dialogue, I remind myself that nothing can be extraneous on the page. They NEED to say only what NEEDS to be said.

And I still find it so hard to say what I need to say…