​Challenge yourself with a little writing exercise, and you could win cash! The NOWW Flash Fiction Challenge is now accepting short short story entries of 500 words max. Quick and to the point! The top three stories will earn cash prizes and publication in our blog this fall.

Contest Rules
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• Free entry (you have to be a NOWW member—sign up here, if you’re not a member: http://www.nowwwriters.ca/join-noww.html)

 

• One submission per person

 

• Your story must be 500 words maximum, not including title. Stories that go over the word count max will be disqualified.

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• Stories can be submitted in Word format using 12-point font or Text format (such as with Microsoft Notepad). Please do not submit in PDF format.

 

• At the top of your entry, please include your name, email, phone number, title of your story, and word count (not including title). Then, include your title again and the story

​. You can view a sample entry below:


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• Please do not include anything within your story like your name that would make you identifiable. 

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• Email to [email protected] with “Flash Fiction Contest” in the subject line (mailed submissions will not be accepted)

 

• NEW STORIES ONLY, please. Your submission must be:
  • Your own work
  • Unpublished

 

• Deadline is Sunday, September 22 at 11:59pm (Eastern Time)

Two members of the NOWW board will judge the contest.

What’s Flash Fiction? 

Flash fiction stories are, well, short. Sometimes called ‘micro-stories’, ‘postcard stories’ (if a postcard is part of the contest) or ‘short short stories’, flash fiction challenges the writer to fit a complete story into very few words. While there isn’t a paint-by-numbers formula for flash fiction, there is a certain art to it. It’s not about trying to squish a 3,000-word story into 500 words.

Here are a few links to help you get a better idea of the craft—and to get the creative juices flowing:

How To: https://www.theguardian.com/books/2012/may/14/how-to-write-flash-fiction(Another how-to written by David Gaffney)

More Tips:https://www.hysteriauk.co.uk/2017/04/07/starting-flash-alex-reece-abbott/ (A UK contest with tips from the judges about how to write flash fiction)

Some Examples:http://flashfictiononline.com/main/(Example pieces)
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NOWW’s Flash Fiction Challenge is a great way to challenge yourself and get the creative juices flowing. 

By the way, this blog post is 379 words, so you have a little more room than this to write your beginning, middle, and end. Think you can do it? Let’s find out! Start writing today!

​​I quite enjoy poetry, but it took a heck of a lot of reading to begin to get a sense of the styles I prefer within the form. And there’s something elusive about poetry. Even after years of active reading, I feel that I’m barely able to scratch the surface of understanding why certain passages speak to me. I believe that this is part of the explanation as to why the form can seem a bit daunting or even inaccessible.
 
But every so often something comes along that allows a glimpse into the underlying techniques that make poems sing. In my recent poetry binge, Kayla Czaga’s Dunk Tankclearly showed me how sound repetition can be used to influence rhythm, pacing, and flow. And this specific aspect greatly interests me because it allows for subtle direction and structure that can be felt without jumping out at you, like more overt techniques employed to similar ends, such as tight rhyming or alliteration. I’ll illustrate what I mean and how this can be used with a handful of passages. In order to maintain specificity in the discussion, I’ll be using International Phonetic Alphabet (IPA) symbols to describe various sounds, but I’ll give examples where possible for the sake of clarity.
 
I want to start off with a passage that stood out to me on my first read-through. From the poem “Girl Like”:

 
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​Try reading it in your head and again aloud. Listen to the ebb and flow of the passage. Now look at it once more, with three common sounds highlighted:

​In this verse, aɪ and ɜ:rform a structural backbone, while ɪ is one of the driving sounds of the overall passage. The ɜ:rsound, specifically, punctuates the passage, while the overlap of sounds creates a blending effect that smoothes the flow.
 
This technique can also be used to dictate pacing. For instance, refer to a passage from “Fun and Games”:
 

I want to end with an entire poem with multiple repeating sounds highlighted, “Sleeping is the Only Love”:

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​The eɪ sound never greatly builds up at any point in the poem, but it occasionally recurs, acting as a soft, cohesive point throughout, while the repetition of the sound in the first and final lines effectively underlines the common idea. The remaining four sounds are ever-present, heavily overlapping, but each increases in frequency at different times, each being the main driver of a subtle rhythm when this occurs. These, of course, aren’t the only recurring sounds within this poem. I invite you to consider the effect the frequently repeated ɪ sound creates with regard to the rhythm and pacing, or to look into consonant use throughout. (What does the strong use of the harsher S sounds at the start evoke compared with an increase in rolling Ls shortly thereafter?)
 
The next time a poem stands out to you for reasons that aren’t readily apparent, try to look for repeated sounds and their relation to one another. And consider these sounds when writing your own poetry; you may end up with something musical.
 

​Alexander Kosoris is a book reviewer who regularly contributes to The Walleye, Thunder Bay’s arts and culture magazine.
 
“Girl Like,” “Fun and Games,” and “Sleeping is the Only Love” are taken from Dunk Tank, copyright © 2019 by Kayla Czaga. Reproduced with permission from House of Anansi Press, Toronto. www.houseofanansi.com.

Donna White is the author of the Stones trilogy. An avid traveler, she enjoys visiting other countries and experiencing everything each culture has to offer. From interviewing former child soldiers in Gulu, Uganda, to celebrating Shubho Noboborsho in Chittagong, Bangladesh, and sitting amongst a troop of chimpanzees in the rainforest, Donna embraces every experience to the maximum. Her writing takes on a very serious role: to reveal situations in the world that aren’t regarded as newsworthy but should be.
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She resides in Canada with her husband, children, dogs, cats and horses on their hobby farm in Northwestern Ontario. You can visit her website at www.donnawhitebooks.com to find photo galleries, teaching resources, and much more. 

Here is a link to information on NaNoWriMo
​nanowrimo.org

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​Tessa Soderberg 

I hate bios. I write novels and have been doing so since high school. I have about a dozen rough drafts covering subjects from time travel, nuclear war, and historical fiction. 

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​By Cathi Winslow
 
No one is born with the ability to write well. We learn to write by writing. Toronto theatre artist Jeff Ho will visit Thunder Bay on October 12 and 13 to share excerpts of his own work and help us learn new ways to approach our writing. 
 

When Jeff Ho began writing his first play, it took him a long time to realize what he had been missing—not only in his work, but in his life. He graduated from the National Theatre School in Montreal with an impressive résumé of acting credits. However his training was devoted to how to interpret a play, not how to write one.
 
“It took quite a little while,” says Ho, “to believe that writing was something I needed.” 
 
He didn’t feel equipped for it and had to muster the confidence that he could succeed. He worried that no one would think his writing was any good. “That need to work, be affirmed, make a name—all those fresh grad things felt very high stakes.” Ho learned to write by doing it, discovering along the way how much tenacity, perseverance, and sheer faith is required to move a play from page to stage. 
 
Before theatre school, Ho studied classical piano, and so he decided to incorporate his own compositions as well as those of Chopin and Rachmaninoff into his play. He says, “Learning to marry all the different artistic facets of my upbringing—music, writing, and acting—to create a unified and cohesive piece of theatre was an enormous experiment.” He established rules for how piano music would speak in place of the male characters. His journey was sometimes daunting and humbling as he discovered new ways to combine his creative skills. The process required patience. “It was a lot of trying things, till something theatrical and potent revealed itself.” 
 
Ho created his play as a way to honour the matriarchs who had held his family together through dire circumstances over three generations. He created characters based on his mother and grandmother, and discovered how deeply they were ingrained in him. “I learned how the way I love, laugh, and live have all been informed by what my mother and grandmother faced while they were loving, laughing, and living.” 
 
Ho’s experience as a performer helped to inform his play. He used acting techniques to develop each of the characters, then sat down to transcribe his improvisations. He wrote scenes that he would love to dig into as a performer, such as a fight scene or “something really juicy”. If the words felt “clunky” or unwieldy in his mouth, then he knew a rewrite was needed. Sometimes a scene looked like it might need more work, but performing helped to reveal its strengths. Ho learned that “if something felt underdeveloped on the page, but left lots of room for silence and stillness in performance, that was actually a gem to keep.” 
 
As he worked with a dramaturge to develop his play, he uncovered many subtleties around creating text for himself to perform. He says they all stem from the same core: to share a story on stage that is full of power and beauty. 
 
“Whether we acknowledge it or not, like it or not, see it or not, theatre is all around us:  the courtship of young folks at a club, dancing around each other trying to catch each other's attention. Our politicians and their speeches. Teachers in front of their students. A chef presenting a dish. A driver trying to get out of a speeding ticket from the officer. We are constantly shifting our personalities within each specific encounter in our days, and that is theatre.”
 
Ho’s advice to writers: 
 
"Learn to be patient with yourself, because not everything will come at the speed you'd like it to. And be open to learning, every day, everywhere: curate your curiosity, as artistic inspiration can flow in from a walk, an encounter with a stranger, a thought in the shower, a song that won't leave you alone. And then, create with all of your being. Don't compare yourself to others; there will be younger, hotter artists every year. Do your work, and love your work, that's your prime responsibility." 
 
Jeff Ho will share excerpts from his first play, as well as his most recent play, on Friday October 12 at 7:00 pm, in the Jean McNulty Recital Hall at Lakehead University, presented by 10x10, NOWW, and the Playwrights’ Guild of Canada. (Free admission)
 
On Saturday, October 13, you are welcome to participate in playwriting workshops at Urban Abbey: Monologue Boot Camp at 10:00 am (free admission) and Playwriting Master Class at 2:00 pm ($10 registration). More information at www.10x10tbay.ca/workshops

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​Cathi Winslow is a playwright and musician with an extensive background in theatre, music, dance and creative writing. Her original plays have been produced in New York, Los Angeles and Thunder Bay. Cathi is the Artistic Director of the 10x10 Play Showcase. She is delighted to represent Northern Ontario at the Playwrights’ Guild of Canada.

​Author Angie Abdou opened her May 5th workshop for over 20 people with these words: “Trust the process”.

Abdou—also keynote speaker for NOWW’s LitFest Gala—described writing as an exercise that may or may not generate results.  Athletes train daily and for long hours so they will have the skill and discipline for infrequent events. In order to be a writer, she said you have to take the same approach.  

Abdou’s first novel dealt with Olympic athletes, so her advice to treat writing like a sport is based on experience in both pursuits. Writers should write daily, she said, with the intention that while their word count will accumulate over time, much of what is written may never be published.  
To that end Abdou recommended writers adopt a practice that includes timed writings that are either free flowing or prompted by a broad concept.  Leave the mind open. When the time comes to review what you have written, take what works and don’t worry about what doesn’t.
 
“Write hard, write raw, write what hurts.”  Ernest Hemingway
 
Abdou discussed how writing needs to engage the reader.  It is not enough to write pretty words; the reader should feel emotion and urgency and believe that the stakes in the story are meaningful.  She explained how we write about objects can convey emotion, rather than having the author describe how characters feel. In order to better understand this concept, Abdou gave workshop participants three writing exercises.   First, we described an object special to us and second, we wrote about someone threatening that object. Then we put together the two for the beginning of a story. I wound up with a few hundred words that demonstrated how an object I own embodies my emotion and how a threat to it, threatens me.
 
Abdou discussed how important it is for the first few pages of a work to capture a reader’s interest. She provided openings to two very different books and asked us to explore what made them work (or not) and how they might be improved. No surprise that openings can come in many forms but need to provide characters that readers will care about.  They also need to raise questions that create suspense without generating confusion for the reader which may take them out of the story. From the participants’ feedback, it also became clear that what hooks one reader might not hook another.
 
With a collection of short stories, four novels, and her first nonfiction book Home Ice to be released this fall, Abdou has a solid track record in publishing.  She drew on her experience to let us know what we should expect when we have a novel that we consider ready to bring to the marketplace.  The short answer is “more work”.  
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Editors will ask hard questions, Abdou said, and writers need to be ready to listen and consider what is being asked.  An editor may not request a rewrite, but a few well aimed questions may give the writer pause to consider if the material deserves one.  Abdou’s message: the writer-editor relationship has been around for a long time. Trust the process.  While she does not see an agent as a requirement for publishing in Canada, the right agent can help to open doors in other countries and address the business side of publishing.
 
I went to the workshop ready to hear how to hook a reader.  I learned this—and more.  If we want to publish, we need to review our writing critically and listen to what others have to say.  But first we need to write.

​Charles Campbell is an accountant by day and writer by evening and weekend.  Although he has had successfully submitted his tax returns for decades, he is far more proud of having his plays selected for the 2015, 2016 and 2018 10x10 Showcases.  Charles joined NOWW to get away from financial statements and to dedicate more time to develop his writing, but much like Michael Corleone, he's been pulled back in and is serving as Treasurer.

I’ve been asking myself different versions of the same question for years: “Could I make money from my writing?”  You know, write as a side gig?

Although I’m grateful for the modest sums I receive from my writing, I return to my day job to really pay the bills. Writing for (more) money remains a bit mythical, an idea that generates more questions than actual dollars.

For freelance writers Graham Strong and Bonnie Schiedel, writing isn’t just a side gig, it is their day job.  At a NOWW workshop held at the Waverley Library on March 20, 2018, Strong and Schiedel shared their best advice on how to make money from freelance writing, answering some of those many questions in the process. 

Although Strong and Schiedel both make their living from freelance work of various types, they’ve taken very different routes to get to that point, proving that there is no “one size fits all” solution to breaking into the industry. 

Schiedel was introduced to the world of magazine writing while working for Chatelaine in Toronto.  Her articles have appeared in many of the consumer magazines we think of as household staples – Reader’s Digest, Canadian Living, and Best Health.  She adapted to a changing economy by writing content for corporations. 

Strong’s career began locally by writing for a community newspaper and editing the Robin’s Donuts employee newsletter.  Within a few years, with the rise of digital content and internet advertising, Strong had connected with clients all over the world who employed him to write everything from web content to television scripts.  Variety is what makes his work interesting.  “For me, freelancing is a perfect fit,” he said during the workshop.

As full-time freelancers, being generalists—offering a wide variety of services—has been successful for both Schiedel and Strong.  Schiedel recommended specializing in an area of knowledge or interest for writers who are looking to freelance part time.  “It’s easier to market yourself if you have an area of expertise,” she said.

Strong and Schiedel quickly confirmed my long-standing hunch that success as a freelance writer requires more than strong writing skills. 

Schiedel emphasized accuracy, adaptability, and the importance of having an approachable writing style—one that is easily understood without sounding simplistic.  She also cautioned that working freelance does not mean working in isolation.  She’s made good use of her ability to work with a team and develop a rapport with interviewees, skills that obviously transferred to her role as a presenter. 

Strong emphasized the value of professionalism and good communication.  For him, these qualities are even more important than his skill as a writer.  He takes deadlines seriously and underscores the need to be self-motivated and to gracefully accept criticism and feedback from clients. 

Both presenters conveyed information in a casual and approachable manner, welcoming questions and dialogue with the audience.  The fact that they are peers in our local writing community—rather than professionals from faraway cities – made the presentation even more effective.  Humour and personal anecdotes added a new dimension to the content of the workshop and to potentially dry topics like negotiating rates and contracts.  I was happy to leave with an extensive list of additional resources, not in the form of a stack of handouts, but as a slim business card that directed me online to nowwwriters.ca/workshops.

Strong and Schiedel engaged the audience further by presenting an “elevator pitch” exercise, challenging us to think critically about how we would introduce ourselves as freelance professionals if we had only 30 seconds to do so.  For me, the exercise brought another set of questions to the surface – “How do I want to present myself?” and “What skills and areas of expertise should I emphasize?”

Ultimately, I walked away from “Side Gig” feeling that many of my questions about a career in freelance writing had been answered.  What surprised me was that I valued the questions the workshop posed—bigger, more career-defining ones that only I have the answers to—even more than the information I’d received.  Thanks to Strong and Schiedel, the process of writing for money seems a little less mythical and decidedly more tangible.