I've done it - I've finished reading The Journey Prize 2014. Although the collection was slightly-less impressive than the year previous, I always looked forward to Friday morning class, with coffee and pastry in hand, where my professor, peers and I would discuss the various stories considered to be the best in the Canadian literary world. We all adored the spunky story How to Tell if Your Frog is Dead. Kristen and I were left heartbroken by Sealskin, while Amy Tan's story had me slight confused and intrigued (I love her writing). Hashtag Maggie Vandeerven made my heart ache for my mother - a sensation any good story should make you feel. However, I didn't agree with last year's winner, so when I searched up the recipient of a whooping $10,000 first-place prize, I was pleasantly surprised to see my favorite piece had won. Tyler Keevil, the author of Sealskin, actually lives in Wales, not Nova Scotia, where his story takes place. Although the build up made the conflict almost too obvious, the graphic details were shocking and extremely well-written. Keevil has two novels out, which I intend to add to my rapidly-increasing summer reading list. The finalists, Lori McNulty for Monsoon Season and Clea Young for Juvenile seem well suited for their $1000 awards as well. I'm keen to see what talent next year brings! |
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A few weeks ago, I was lucky enough to score a short interview with Brindle & Glass's in-house editor, Cailey Cavallin. She offers a wealth of great advice and personal experience - read on below!
1. How did you get started in the editing profession? I studied English literature in university, with an eye toward becoming a writer. Then during my first co-op placement—strangely enough, at a tech company—I was assigned the task of creating a house style guide for their manuals. My boss gave me a copy of Substance & Style: Instruction and Practice in Copyediting (Mary Stoughton, EEI Press, 1996) as a primer, and I was hooked. All of my three remaining co-op placements involved editing in some form, and I decided it was something I wanted to pursue. After completing my undergrad (and taking some time off to travel), I enrolled in Humber College’s Creative Book Publishing program. It was a really fun program and a great introduction to the publishing industry, and from there I got an internship with Project Bookmark Canada. After my internship was completed, I set about trying to find a job in publishing. This took a while (a year) and a lot of work (I sent resumes literally coast to coast), but in the end it was worth it. I landed an internship with TouchWood Editions/Brindle & Glass, worked incredibly hard, and after a couple of years was promoted to in-house editor. 2. Which editing roles do you fulfill as in-house editor at TouchWood Editions/Brindle & Glass? Are there other staff editors or freelance editors that share your workload, or is it basically a one-person job? My role varies from book to book. We like to do two or three levels of editing on each book, starting with a substantive/structural edit, then a more detailed copyedit, and finally a proofread. I am the only editor on staff, so I obviously can’t edit every book at every level—and it’s better that I don’t. Fresh eyes during the various stages of editing are always best. And this is where freelance editors come in. If I’ve done the structural edit of a book, then a freelancer editor will do the copyedit/proofread. Or vice versa. And every season there are always a couple books that I don’t have time to edit personally, in which cases the freelancers do all of the editing. But I am always the last set of eyes on a book. No matter what stages of the editing process I’ve done personally, I will always do a final close-read before the book goes to print. 3. How do you recognize a piece (or an author) with high potential? It’s different with every book. Sometimes it’s the plot or characters; in other cases it might be that the author has a particularly fresh or funny or unique voice. 4. Once you decide to move forward with a piece, how much editing is appropriate? How do you know what should be edited out and what must be left in? To be clear, I am not the one who acquires the books we publish—Taryn Boyd, our associate publisher, performs that role in consultation with our publisher, Pat Touchie. However, all of the unsolicited manuscripts we receive go through me first—I log them all and pass along the ones that fit our publishing parameters, flagging any that I feel are particularly interesting/noteworthy. Then, once Taryn has worked out a deal with the author, she and I will sit down and discuss what needs to be done in terms of editing. Again it varies from book to book. Sometimes, it’s just a matter of polishing the writing. And in other cases more intensive work might be required. But I always want to maintain the author’s voice—and help make the book the very best it can be. 5. How many times, on average, do you comb through a piece before feeling satisfied with your revisions? Again, it depends on the book. Some authors are wonderful storytellers, but weak technical writers, and so I know I have to give their books a little extra attention. But all books go through at least two rounds of editing and a final read through. 6. As an editor at a publishing house, you must receive plenty of unpublishable pieces. Is there a point in giving criticism to simply bad writing? If so, is there a way to do it with sensitivity? As the only editor working in-house, I have very little time to spend crafting rejections. This means that most people receive a template rejection, as unfeeling as that might sound. However, on occasion, we will receive a piece that has potential but needs more work than we could conceivably afford (both in terms of time and money), and then we will include some constructive criticism (perhaps the dialogue needs work or the characters are too thinly drawn, etc.). 7. What adaptations do you foresee in your role in the growing surge of digital publications and online reading? With the rise of self-publishing people have begun to question the need for editors. But I think that’s shortsighted. The editor’s role is to help the author get his or her message across as clearly and compellingly as possible. And every writer, no matter his or her experience or skill level, can surely find some benefit in that. That being said, there is always room to evolve. I think tagging is something more and more editors will have to learn to do, across various platforms (at the moment, tagging is used primarily to create indexes, but definitely has applications in terms of searchability for digital media). 8. In your opinion, is there more or less need and opportunity for emerging writers and editors in today’s internet-obsessed world? I think there is more need. There is so much going on in the world today, and people want to be informed—and to be so they must consume information. Writers and editors are the ones who create and present that information, and therefore will always be invaluable. 9. What advice can you give to a new writer/editor entering the publishing industry in Canada today? For editors, I would definitely say get as much training and experience as possible. Completion of a publishing/editing program definitely helps, and certification from the Editors’ Association of Canada is even better. Editors’ association websites/newsletters are a great place to learn about not only training opportunities but also job opportunities. For writers, I would say be persistent. You’ll hear a lot of no’s before you hear a yes, but don’t give up. And before you send your manuscript to a publisher, do your research—what kinds of books do they publish? Will they work with Canadian authors? Nothing is more annoying than an unsolicited manuscript from an author who obviously couldn’t be bothered to look at our website before contacting us. And finally, be aware of and open to the changes that are happening, but don’t worry about the future of the printed book. It’s not going anywhere—not anytime soon, anyway. The incredibly famous author of To Kill a Mockingbird has just released her second book - though it is rather controversial whether or not she actually released it. At 88 years old, publicly-shy Harper Lee doesn't seem to have a set opinion on her forthcoming novel, Go Set a Watchman. There was a point in my life (when I was about 14) that I would be ecstatic to see anything I wrote published; now, if any of my early pieces (and some current ones) hit the newsstands, I would probably die of embarrassment.
In my opinion, Lee seems like she just wants to be left alone. Why her publishers didn't wait until she dies (and a few more years after, until it's "okay") to release this novel is beyond me. If someone's going to take some shitty thing I wrote back in junior high and make money off it, please, at least wait until I'm not around to see it crash and burn. Secrets, stalkers, and sperm—these are only three of the appealing subjects Julie Paul takes on in her most recent short story collection, The Pull of the Moon. Although the stories occur in real life, her fantastic array of quirky characters and diverse settings are anything but ordinary.
Published in 2014 by Brindle & Glass, The Pull of the Moon contains a dozen stories that explore the universal concepts of love, guilt, and personal growth. Paul mixes common narrators with atypical characters to create believable friction and intriguing storylines. The reader is pulled into a bustling Saturday market in “Black Forest,” confronted with child abuse in “Damage,” and left swinging on a hammock beneath a rainstorm in Belize in “Tropical Dreams.” Rich with unabashed intimacy, Julie Paul possesses the unique talent of placing readers directly in front of a full length mirror, similar to the way guests at wedding end up reflecting more on their own lives than the ones on stage in front of them. Interwoven around the theme of secrets, stand-out stories such as “Black Forest,” “Crossing Over,” “Damage,” and “Tropical Dreams” effortlessly compel readers with wit, detail, and the unveiling of universal fears through well-written, modern prose. The Pull of the Moon commences with a piece about a peculiar young woman, Jenny, who is described as “eleven going on sixteen going on five” (1). The main character is her father, Lawrence, through whom the reader connects and sympathizes with. Lawrence undergoes a constant back-and-forth, win-lose-win scenario that keeps the reader cheering for the protagonist but uncertain if they will prevail. This is a strong literary device that Julie Paul utilizes in the majority of her stories in The Pull of the Moon. There are some vague word choices and unclear phrasing within the story: “Dessert would be fruit and ice cream. “Raspberries.” She stuck out her tongue and blew him one” (3). Despite these slightly problematic phrases, this story is a relatable transformation piece that welcomes the readers into a familiar world where significant change can be shown in as small a detail as a stare. The tragicomic story “Crossing Over” is an utter masterpiece for its ability to swiftly transport the reader from chuckles to tears. It begins with an eccentric aunt (we all have one), who is mourning the death of her beloved feline, Fluffy. The main character, Roy, is tricked into smuggling Fluffy’s dead body across the border to give her a proper burial in her hometown. The story takes a somber turn after Fluffy’s funeral. The narrator’s interspersed stories about his wife, Marjorie, illuminate a greater sense of loss: Just before she passed away, Marjorie had told him that golf would get him through the worst of it. He’d believed her. It had seen him through a few rough patches, and she’d been there when over the years he’d said to whomever would listen, If I didn’t have golf, I’d be dead. What a dolt. As if golf had carried him through losing his store to fire and rebuilding again, or the skin cancer scare, or the murmuring depression that set in once he retired. It was Marjorie. (41) In a few pages, Paul draws readers into Roy’s grief and brings them to his wife’s gravestone, reverent and pensive. The theme of the piece reveals that death can be glazed over and even humorous, until the deceased is someone you loved. The story “Damage” begins with a brilliant first line: “Mornings were heavy” (23). The piece continues in Jim’s voice, slowly revealing a conflict that is so complicated and unbelievable it perfectly reflects real life. Jim is a weak, depressed man who skirts around his struggle to overcome minute decisions that are affecting every aspect of his existence—especially his sex life. Jim feels responsible for the death of a child and is therefore unable to produce any of his own. Carl, Jim’s next-door neighbour, is a clear character foil. Confident that meek, pathetic Jim will never intervene, Carl openly abuses his children in the awkward space between their houses. The story reaches climax as a chainsaw erupts into action outside. Paul places Jim is a position where he must choose: transform, or fall deeper into his suffocating guilt. Akin to all of Paul’s characters, Jim’s choice is a complicated, layered one that keeps the reader guessing. The story “Tropical Dreams” takes the reader to hot, sweaty, alcohol-infused Belize, with two couples that find themselves hopelessly intertwined. Paul touches on universal fears as the main character, Sue, watches her husband, Fraser, gape at the younger woman across from him. “Billy had put her peach T-shirt back on over her swimsuit, but I could hear her nipples saying, Hey, old lady, you think your husband can keep away for long?” (78). Paul uses vivid imagery to immerse the reader in the setting. This is especially apparent in the sexual tension between Billy and Sue as they lie on the hammock: “I could feel a sort of vibration from her, as though her skin could barely contain her” (91). By placing relatable characters in a foreign setting with a twisting storyline, Julie Paul expertly crafts a mountain of conflict that showcases her skills as a short story author. The Pull of the Moon is a prime specimen of modern literary fiction. Paul takes a long, hard look at common, everyday life and all the peculiarities it possesses. Relatable yet fresh and interesting, her collection focuses around the distortion and revelation of intimate secrets. Paul’s dynamic characters experience growth, conflict, love, death, and complete transformation. All twelve stories in The Pull of the Moon are insightful and meaningful pieces. Readers of literary magazines and lovers of short fiction will find these stories introspective and enjoyable to settle into and journey through again and again, like “a slow, sweet walk” (122). Not too long ago, the Guardian released a post discussing the genre that sells the most books: YA fiction. What the article revealed, however, is that not all readers in this category fit their stereotype. In fact, plenty of adults are diving into (and no longer hiding behind) glossy paper-backed young adult fiction. Perhaps it's the upheaval in marketing that creates such a cross-generational genre; people want to join in the conversation: Oh, that book? I just finished it. It could be an attempt to relate to and understand younger members of society, or perhaps it's easier to relax into a novel written for a lower reading level. I think it's the "escape from reality" these books offer that make them so popular for adults. While it's great to marathon through Tolstoy's Anna Karenina and fight through Dante's Inferno, after a long day of work and school and responsibility and homework and cooking and cleaning all I really want to do is cuddle up with a glass of red wine or cinnamon tea and chocolate chips - and I'll be bringing an easy escape with me, thank you very much.
The owner of Mosaic Books in Kelowna, BC, was not quiet about admitting that despite the rise of Amazon and Kindles, his downtown, brick-layered bookshop is doing just fine. Although the internet is cluttered with information and "shopping cart" options, people still flock to bookstores - and it's clearly for more than just the books.
I spent nearly an hour loitering in Drawn & Quarterly, a fantastic book shop in Montreal, before taking my purchase across the street to a strategically-positioned eccentric coffeeshop. The mood in D&Q was relaxed, open, and curious - three things I love to be, and three things shopping on Amazon will never give me. As the world becomes increasingly internet-obsessed, I think we crave these small moments of interaction. In an independent bookshop, we can ask the staff for recommendations and trust their advice. We can stumble upon new novels we never would have considered. We can sit, whether it's on the dirty carpet floor or a comfortable recliner or a pile of musty books, and soak up the atmosphere that makes literature so beautifully hidden and obscure. The question of whether or not the public should have free access to literature boils down to how we view literature. If we think of books as artifacts, we can compare rare collections to expensive paintings in Art Gallery's. In Canada, gallery admission is generally free or quite low, but the customer does not expect to own the items they observe - simply to enjoy them.
Library's function in the same way, yet books seem to struggle to secure an "aura of awe" in the same way that physical artwork does. Why is this? Perhaps we place more value on the physical material required to create an object rather than the experience it procures. In today's world, where people are constantly bombarded with entertainment, we expect to be given books. There's even a whole giveaway section on goodreads. In my opinion, the people that take advantage of prereleases, public libraries, and book readings, are the people that ascribe more than monetary value to literature, anyways. So, as a blogger, a hoarder of old leather-bounds, and a warrior against e-Books, I consider literature both a right and a luxury.
Does anyone (besides me) remember the adorable (and all-too-believable) commercial "The North American House Hippo"? The mythical creature stars in a 1999 Canadian public service announcement that cautions viewers to consider what they consume, and become aware of life's harsh realities.
The tone in this story immediately reminded me of the house hippo or a radio monologue. The piece is rich with irony and blatantly attacks our society's dependence of instructions and the ability to answer anything on Google. Lines such as "Either way, your child will learn to distinguish imaginary monsters from the real terrors of living and dying" and "It is perfectly natural, and your child will learn a valuable lesson about tolerance and diversity" poke fun at our over-analytic worries and expectations, especially those of parents. The moral of this story is that life lessons must be experience authentically; there are too many "ifs" and "buts" in life to plan epiphanies. People quite often say stupid stuff: it's a sad fact of humanity. Literature should hold itself to higher standards; making well-written pieces be the ultimate goal. Too often shock-value and the desire to spurn "the next big thing" detracts from artistic ability. Controversial writing opens the floodgates for others to write responses - not all of which are exceptionally written, either. And then I hang my head and wonder yet again why Snooki has a published novel, and I don't.
I can't claim to know the first thing about the recent winner of the Governor General award, or his award-winning children's novel, When Everything Looks like the Movies, beyond the excerpt's Barbara Kay has chosen to attack in her book review entitled Wasted tax dollars on a values-void novel. Harsh. I'm not going to lie: I didn't particularly like what I read. Not Raziel Ried or Barbara Kay's words. Perhaps this novel is a tad gimmicky in it's desperation for shock-value, but that is not Kay's issue. Read her article's title again: Values-void. Novel. So, she admits it: she's pissed off because Ried's work ignores society's conventional boundaries. She's not arguing against the value of piece itself. What Kay doesn't seem to get is that writing is about breaking rules. The question of whether or not this piece is actually good writing is yet to be dissected, but I think I'll leave that opinion up to me. (Now that I'm intrigued enough to pick up my own copy. Cheers Barbara!) |
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