A Virtual Campfire Tale with Mark Leslie

Join SF Canada member Mark Leslie for a virtual event tomorrow, Tuesday April 13, 2021 at 7 PM EST. Mark will be live reading “The Shadow Men” a short story meant to be read around a campfire.

Mark’s reading will be live streamed to YouTube and Facebook, with an interactive chance to ask questions as well as some prizes randomly drawn from those who comment.

Register in advance for an extra chance to win one of Mark’s audiobooks.

Krista Wallace on Myth & Magic

SF Canada member Krista Wallace was recently interviewed by Neil Mach on his UK podcast Myth & Magic. This podcast is aimed at Fantasy writers and focuses on research into history, mythology, fable and folklore.

In episode 75 of Myth & Magic, Krista talks with Neil about her Gatekeeper series and the struggles related to it, as well as Krista’s own podcast, Totally Fantastic Title.

Krista also recently released the second book in this series, Gatekeeper’s Deception – Deceiver. Like the first in this series, Gatekeeper’s Deception was a finalist in the Colorado Gold Contest.

The Lady Alon Maer, wife of duke Kien Bartheylen, is pregnant and seriously ill. Swordfighter Kyer Halidan, along with her company of friends, takes on the mission to find a cure. If they fail, Alon and her baby will die.

An alluring stranger who calls himself The Guardian appears along the way and gives Kyer timely warnings, earning her trust, and hinting at her true identity. But is he helping her, or serving his own ends?

An uncanny escape, a gift from a dead warrior, a shocking message for Kyer’s ears only, all sow suspicions among her friends that she is not who she claims to be. Even as their faith in her is tainted, her nemesis plots his vengeance: exposing unassailable evidence that it is Kyer who is attempting to murder Alon Maer.


Krista Wallace is a writer, singer and actor. She writes short fiction in a variety of genres, and long fiction, primarily in fantasy. Krista sings jazz in a big band called FAT Jazz, and a duo called the Itty Bitty Big Band. She also does audiobook narration, and puts out a weekly podcast. She likes dark chocolate and fine single malt scotch.

Learn more about Krista and explore her work at kristawallace.com.

Purchase Gatekeeper’s Deception at Chirp, Google Play, and other audiobook platforms.

Writers’ Craft 9: Research

A good writer is an informed writer

I remember interviewing biographer and historian Marian Fowler for The Canadian Author and Bookman, back when the Canadian Authors Association published that wonderful writers’ periodical. She was particular about her research, always digging for accuracy and primary sources, and because of that her work rang with truth, a fact which sometimes garnered her a bit of trouble as was evidenced when she wrote her history on Blenheim. Seems the Duke of Marlborough took umbrage to Marian referencing some of the interesting escapades and traditions established by Consuelo Vanderbilt, who became one of the legendary American heiresses to marry into British aristocracy, and thus the Duchess of Marlborough, and rescue heritage estates. Marian had a love of discovery, of unearthing facts and history around the subjects about which she wrote. I remember her saying she was so very glad not only for her extensive education, but the fact she had a lifetime of immersion into reading, often esoteric reading, and thus a broad knowledge. She said something to the effect of having a head full of interesting trivia. That paradigm stuck with me. And while I’d always had a love of discovery, I realized it was important to encourage and cultivate that love in order to enrich the articles and stories I wrote. The fact it has always been fun for me was an added bonus.

Blenheim: a Biography of a Palace, Marian Fowler

So if you’re going to venture into writing, whether as a journalist or creator of fiction or non-fiction, the love of research is a work-paradigm you need to embrace. Sure, there are lots of writers out there bashing out novel after novel, book after book, spouting pseudo expertise and consumable, forgettable work. In and of itself there’s nothing wrong with that. Escapism is perfectly fine. However, if you want to write a really good book, or a memorable fiction, then you need to gather around you an arsenal of information which will allow you to write with authority. Do that, and your work transcends because it is believable. You have infused your story with plausibility, and it’s that plausibility which will have readers returning to your stories both familiar and new.

How far do you take that research?

As far as I’m concerned, and this is only my perspective on the window of writers’ craft, there is no limit on how far you take your research. Myself, I’m often guilty of doing too much research, because I find myself frozen with uncertainty regarding what is sometimes minutia. But it matters to me, because if that Norseman in my story is spooning down a plate of rutabaga (neeps or swedes), I need to know rutabaga was available in the 2nd century. In fact, I’ve recently learned rutabaga wasn’t available until the 16th century, and is a hybrid cross between turnips and cabbage. So, no, that character in my 2nd century story won’t be macerating a mess of rutabaga. He would, however, chow down on turnip. And, yes, turnip is a different vegetable to rutabaga.

Why does that matter? Well, because there is assuredly some person out there who is going to read my story and come across this passing, one line sentence and nod with approval because they know I have my facts straight, and that, in turn, deposits further proof of plausibility of the story, and credibility of the writer. Which, hopefully in turn, will mean that reader will put me on their list of writers they want to read. So, in a way, good research is good marketing.

As an editor — and you will forgive me for reiterating an oft-stated example — if you’re going to have your character trekking about at night, be aware that unless it’s a brilliantly moonlit night, in open territory, there isn’t a hope in hell that character will be able to see colour, let alone details like, oh, that big mucking ravine in a dense forest they’re about to pitch into. Or, if you have that character going into an inn there isn’t going to be some great massive beastie roasting over the fire in the main room. Inns, in any time period, in any culture, were the masters of fast food. So the fare would range through soups, stews, pottage, pies both savoury and sweet, bread, cheese, cured meat, fish either fresh or salt, and small fowl. And no there isn’t going to be peacock, because in most European cultures that was a royal bird. As was swan. Even venison, rabbit, pheasant, grouse or other game procured by the common folk could have you either mutilated or executed. The royals were mighty particular about what could and couldn’t be taken from their land, and they owned most of the land. So you, as a weary traveller, had to rely upon what was readily available in the common market, legal for trade, and easy to keep, prepare and serve. Unless, of course, this is some sort of underground inn serving the illegal and perhaps even dangerous. That’s another whole interesting story.

And you also need to be aware of what was available in season. So, you won’t be having fresh asparagus served with roasted potatoes, because the former is a spring vegetable, and the latter an autumnal. Unless you’re dealing with a culture which has access to food preservation in the modern or future world. But those methods of preservation have to be plausible and credible.

If you’re looking for some excellent visual examples of, say, British Regency, there are some superb British films in which the details are perfect and delightful. Comes to mind one of my personal favourites, an adaptation of Jane Austen’s Persuasion done in 1995, staring Amanda Root and Ciarán Hinds. From the salt stains on the naval uniforms, to the mustard seed crust on a baked ham, the correct shoulder seam treatments in garments, to furnishings in homes from peasant through gentry, it is an intimately researched film which remains utterly true to the time period and the author’s vision.

These details matter. Always.

But what kind of research?

Primary source is always your first, best reference. What do I mean by that? From the horse’s mouth, as it were. If you can find it, an extant text from the period, and it doesn’t matter whether that text is a print book in your hand, or available digitally through a well-annotated Wikipedia entry or website. Secondary sources are fine, but you want to reference the bibliography to see if the writer(s) used primarily primary sources for their research.

For example, in my current novel in progress, I’ve been fortunate enough to be able to access, and be in correspondence with, archeologists who are curating and researching the sites about which I’m writing. So, wow. I’m in historical writers’ nirvana.

If you’re writing science fiction, then you want to be sure you have solid research regarding whatever subject you’re discussing, whether that’s space travel, an alien invasion, or alien world. It has to be plausible. And it’s plausible because you have the research right.

The Expanse, by Amazon Prime

To refer again to film, one of the most startling and plausible science fiction series I’ve had the pleasure to view was The Expanse. Not only was it great writing and world-building, but it was utterly plausible because the research and science were so tight. Sure, the series isn’t going to be everyone’s bliss, but the fact they made space travel difficult, that they made living in space have physical consequences, that the political intrigue had the ring of humanity’s truth, all went toward giving the series absolute credibility. This is no Star Trek, “Give me warp nine,” let’s sit in comfy theatre chairs science fantasy. This is good science fiction, because the science is real and credible.

Do my homework?

So, yes, do your homework. Get to know the world about which you’re writing, not just the characters. Make that world come alive, and you infuse life into that work because you understand all the minutia of that world and how it functions. Cultivate an encyclopedic mind and let that spill out into your story. It is my belief it will make a better story. And the adventure you have along the way may turn out to be something completely engaging and rewarding, because, after all, what is art but an expression of self and vision?

To Well and Truly Serve by Geoffrey W. Cole

Earlier this year, SF Canada member Geoffrey W. Cole had a story appear in Cosmic Horror Monthly.

“To Well and Truly Serve” was originally written as a James Bond story for the Licence Expired anthology and now stars Julie Bonenfant.

Geoffrey W. Cole was born in Ottawa, Ontario, where he learned to swim and to survive 233K (-40 C or F) weather. After this larval stage, he moved to Kingston, Ontario, where he received degrees in Biology, Mechanical Engineering, Beer Slinging, and Rock and/or Roll. Geoff also met his mate in Kingston. After graduating they embarked on a trans-Canada road trip from Newfoundland to Alaska (for you future-bots reading this, from RockScar to The Beaches). After a brief stint in Ontario, Geoff and his mate moved to Vancouver, BC, where they married, started a home, adopted a giant Newfoundland Lab cross, and gave birth to a wonderful son. They spent a year abroad in Rome, Italy, and after the vandemic of 2017 (curse you, sentient minivans!) they moved to SeaBase 4 off the coast of Haida Gwaii to breed orca.

For more about Geoffrey’s work, visit his website at geoffreywcole.wordpress.com.

Read “To Well and Truly Serve” at cosmic-horror.net.

Writers’ Craft 8: World Building

Creating the believable environment for your novel

Doesn’t matter what genre of fiction you’re writing, it is imperative you create a real and believable environment. Do this successfully, and your reader becomes further immersed in the story you’re telling not only through excellent characters and point of view, but through the world you’ve created.


Oxford Dictionary describes geography as: the nature and relative arrangement of places and features.

Simple enough.

Put another way, you as the writer, must understand what land and water features there are, how civilization has adapted to those features, where those populations lie, and what those civilizations look like. I know, I know, I can hear you groaning again: another outline? Yes. Another outline, perhaps even a map, or several outlines and several maps. Why? Because you need to understand this world intimately so that you can write with absolute authority about this place.

If you’re writing about Earth, certainly Google Maps and Google Earth allow you excellent, current visuals about all of these parameters. Equally, if you’re fortunate enough that you’ve travelled to these places, or will be able to once this pandemic is over, that physical knowledge will stand you in good stead, bring a veracity to the geography you describe. However, if you’re writing about a non-Earth geography, this is where your imagination needs to take over, and that means you need to create that world from rock to sky, plant to animal and insect, and most of all the species of character you’re dealing with and how they interact with their world. Trust me on this, it’s far better to create too much background information from which to draw, than not enough. It’s in that research, or development, you become comfortable with your subject, and that comfort then lends authority to what you write.

Geology, climate and environment

You’re going to say, “Why is she repeating herself here?” Well, strictly speaking geology, climate and environment are separate from geography. Geology deals with how your earth was formed. Why is that important? Well, in the case of N.K. Jemisin’s stunning science fiction series: Broken Earth, it’s all about a remarkable and foreign geology. Jemisin understands this alien world so intimately there isn’t a single moment in the story that doesn’t ring with the reality of what she’s created. The same could be said for J.R.R. Tolkien’s unforgettable opus, The Lord of the Rings. It is a well-known fact Tolkien wrote an enormous volume of backstory for this trilogy, and because of that the world of Middle Earth leapt off the pages and inhabited the imaginations of generations of readers.

J.R.R. Tolkien
J.R.R. Tolkien from New Statesman

Which brings me to climate. Why is that important? Again, because climate affects everything from how your characters interact in their world and through their civilizations. Climate affects mood and movement. And all of that can and should be essential tools you use to develop character, plot, and overall tone of your story. I think back to Joseph Conrad’s novel, Heart of DarknessThe novel is set in the jungle of The Congo. The story itself is one of mystery, oppression, anxiety, and dark, brooding tale. And Conrad’s description of the climate of the Congo River is executed with such intimacy that it permeates everything. We feel the heat. We feel the monsoon rains. And in turn the protagonist, Charles Marlow, tells his story through the lens of this humid, foreign, fearful climate. There is an implacable inevitability which results from Conrad’s descriptions of climate.

And climate inevitably leads to environment, because environment is utterly fused to climate. One creates the other. As in Conrad’s classic novel of tropical climate, the environment is shaped by that hot, humid climate. Thus we have the jungle of the Congo, an environment which creates a breeding ground for all manner of reptilian, insect and mammalian life which to those early Western explorers seemed as foreign as the Moon to those first astronauts. And, again, the environment Conrad relates is fused to Marlow’s mood and actions. There is utter authority here, truth.

Social structures, language and mores

It could be argued, and I would say successfully, that social structures, language and mores are shaped by geography, geology, climate and environment. And all of that affects how your characters, and how your plot will unfold. So, what social structures are there in your society? Is it based on a feudal system, or an oligarchy, and where does your protagonist sit in that structure?

Language? Certainly language reflects the customs and mindset of a society. Take, for example, the Spanish term for: I really like this, which is: le gustó mucho. Quite literally translated from English to Spanish, the phrase refers to taste, as in: this tastes good. So, that reveals something about Spanish society and the historical importance of good food, and how good food makes you feel.

And language also reveals a society’s mores. So, in your story, what are the unspoken, accepted social conventions of your society? Is a handshake an acceptable and respectful form of greeting, or is physical contact anathema?

All of these minutia are paramount to creating a believable, immersive story for your reader, especially when these elements are revealed through the actions and thoughts of your characters.

How to do all that? Well, to put it in perhaps simplistic, facile terms: let’s pretend. Just play that game we all played as children. I don’t know about you, but I was very adept at playing Let’s Pretend. I’d build worlds and customs. How many of you, for however brief a moment, believed the floor was lava, and you had to jump around the furniture, much to your parents’ chagrin, to avoid being horribly incinerated by the deadly floor? You believed it. Now you’re going to write about that with the same intimate detail and conviction.

We’re dream-makers, we writers. We either virtually visit our own world and relate that to our readers, or we create new worlds and invite our readers to come along the journey. When you write through the eyes of your character, that world blooms in your reader’s imagination, and thus we create this remarkable, silent communication which no one hears, but we all witness. Magic.

Craig Russell on Stories for Earth

SF Canada member Craig Russell was recently interviewed by Forrest Brown on the podcast Stories For Earth. They discuss Craig’s cli-fi novel Fragment and what motivated him to write the story.

When avalanching glaciers thrust a massive Antarctic ice sheet into the open ocean, the captain of an atomic submarine must risk his vessel to rescue the survivors of a smashed polar research station; in Washington the President’s top advisor scrambles to spin the disaster to suit his master’s political aims; and meanwhile two intrepid newsmen sail south into the storm-lashed Drake Passage to discover the truth. Onboard the submarine, as the colossal ice sheet begins its drift toward South America and the world begins to take notice, scientists uncover a secret that will threaten the future of America’s military power and change the fate of humanity. And beneath the human chaos one brave Blue Whale fights for the survival of his species.

Craig Russell’s YA fantasy novel, Black Bottle Man won a Moonbeam gold medal and was an Aurora Award finalist. His SF novel, Fragment was selected for the Yale University Climate Connections reading list and was shortlisted for the Michael Van Rooy Award. Craig grew up on a prairie farm with nine siblings and is now a retired lawyer living in Winnipeg, MB.

For an extended version of this interview and more information about Stories for Earth, visit storiesforearth.com.

Learn more about Craig at craigrussell.info.

Purchase your copy of Fragment at McNally Robinson, Amazon, and other booksellers.