The Green House, Chapters 1-4 (Revised)

[Dear Reader: Having refined my intentions for this novel based on a lot of recent thinking about life and art, I have restructured and revised the first few chapters of The Green House. The two chapters I previously posted became three – 1, 2 and 4. I created a completely new chapter, which is now Chapter 3. I don’t intend to publish any more of this manuscript online. I will be completing it in the autumn and winter, following my three-week trip to Germany (see my other site in upcoming weeks for blog posts about that). I thought you might be interested in witnessing the revision that is, for me, part of the (somewhat tortuous) process of creating fiction, which is why I am including the revised sections of The Green House here. If you are not interested in that part, you can read Chapter 3 and the first sentence of Chapter 5, and wait for the book to be published. At which point you’ll probably just have to read it all again, unless your memory is better than mine. Thanks for all your words of support so far. They have spurred me on.]

Chapter 1.

It turned out that the best part of their relationship was over by the time he’d suggested they get married. They’d been arguing about everything ever since – from who should officiate at the wedding to where they should go after the small reception. 

They’d ended up at a run-down motel in the Muskoka Lakes, two-and-a-half hours north of Toronto and a world away from how she’d always imagined her honeymoon would be. She knew better than to place any faith in convention, romantic or otherwise, but she found herself disappointed nonetheless.

After three years of squandering themselves down to the verge of bankruptcy, indulging their whims and appetites in celebration of their love, their honeymoon was like a hangover. It rained and rained, and they bickered over every cent they spent on touristy options that would allow them to stay indoors. On that day back in November when he’d gone down on one knee to present her with an engagement ring, which of course he’d put on their credit card, they’d agreed over a congratulatory joint that it was time that the two of them grew up. But it seemed that neither of them was keen to do it. At least not with one another.

Their final argument took place high above Lake Joseph on the first sunny day since they’d arrived. After talking to some guy at the front desk of the motel, Emil had decided they should take a leap from a sheer granite cliff that dropped twenty meters down into the deep blue lake. It was perfectly safe, he told her. All you had to do was jump out far enough to make sure that you were clear of the rock face. 

She was having none of it. Online she’d found stories of people who’d been killed or worse at the exact spot, and she said she didn’t feel like being married to a paraplegic. He’d insisted she come up with him to scout the situation, promising that they wouldn’t jump that day but only on the next if she agreed and if the sun was out again.

That’s not how it turned out, of course — in part because the moss up top was slippery from the week of rain, and in part because in the split second in which she might have reached out to grab him by his shirt, that’s not what she had done. She’d been afraid she would fall, too.

 At least that’s what she’d said. They’d never found his body, not the divers who’d entered the deep waters of the cliff, nor the search dogs they’d sent out along the trails, both up on top of the cliff where they’d been standing and down below, along the shore. 

No sign of him. Not anywhere.

Sarah had decided she would stop reading there and, despite the temptation to continue (she loved to read her work aloud), she respected her earlier decision; it had been based on her conviction that writers should always leave readers hungering for more. She closed the book, took a breath and looked up. 

After a few moments of silence, during which it felt as though the audience were holding its collective breath, the hall erupted. A few people yelled “More! More!” and “Keep going!” 

Someone near the back called, “You can’t leave us hanging!” 

“Or ‘leave Emil falling,’ more precisely,” someone said, closer to the front, causing a murmur of laughter.

She smiled and dipped her head to acknowledge their approval. There were maybe fifty people in the lecture hall; as was usual at her readings, about three quarters of them were women. She nodded at a few fellow authors she recognized from conferences and Writers’ Union meetings.

That’s when she realized that Constance Browning was in attendance. She was sitting about six rows from the front and off to Sarah’s left, next to Jayda Banks – a Black poet in her fifties who was highly regarded in the literary community and who Sarah was also flattered to see because she didn’t know her personally. Constance was beautifully dressed in a beige suit with a watery pastel print scarf at her neck, and she was looking directly at Sarah, her eyes meeting Sarah’s, smiling as she applauded. Sarah had admired Constance since she’d read one of her books in high school; her appearance here, when she hardly ever showed up anywhere, aroused an almost bashful pleasure in Sarah. She hoped the bashful part of it didn’t show.

“Thank you,” she said into the mike, addressing everyone in general but meaning Constance in particular. 

When at last – it seemed like several minutes but it was probably just one or two – the applause began to ebb, Toby Abrams, a bookseller and the designated emcee, joined Sarah at the podium. She asked if anyone had questions. 

A few people raised their hands. 

Toby pointed at a woman with short blond hair about half way back who appeared to be in her mid to late thirties: close to Sarah’s age in other words. From the demographics her publishers accumulated, Sarah knew that this was a typical fan of hers: White, middle aged, urban, middle class, probably with a university degree.

“Where did you get the idea for this book?” the woman asked. 

This was a question that came up regularly at readings. Most of Sarah’s stories emerged from the fabric of her life, and when she’d been promoting her previous books she’d answered similar inquiries as accurately as she could, recounting real-life incidents and explaining how she’d woven them into imagined events to create the scaffolds of her manuscripts. Among the members of her audiences, there were often would-be writers who apparently believed that the acquisition of certain rituals or tricks – ones to which only successful writers like Sarah Elliott might be privy – could lift their own fiction from obscurity. They ate up her responses, which often turned into wide-ranging discussions involving half the audience. Indeed, over the ten years since her first book had been published, Sarah had established a reputation for being a “generous-to-other-writers” writer, largely on the basis of the thorough and articulate answers she patiently delivered at readings, talks and conferences, and online as well, when she was asked about her work or about the writing life in general. 

But the spark that had become The Borrowed Knapsack – her newest novel – had been the rage and embarrassment she’d felt in the wake of a relationship in which, for more than a year before it ended, she’d invested too much hope and a stupid amount of money. When she’d started writing this manuscript, which — ironically — a couple of reviewers had already described as her most tightly-plotted (meaning most traditionally fictional?) work to date, she’d been seething, seeking vengeance. Surging rage had propelled her half way through the first draft. 

She was still furious and ashamed about everything related to Wyatt; she was not about to talk about him to anyone, certainly not to the media or the reading public. But knowing that her readers would be suspicious or disappointed if she didn’t give them something concrete, she’d decided that when the inevitable question arose, she’d talk about the incident that had spawned the scene she’d just finished reading, rather than talking about the relationship from which the novel itself had emerged.

“Well, that’s another story,” she said now, her voice well-modulated. “It wasn’t an incident that happened to me directly – I was really just a bystander – but it had a dramatic effect on me. The memory has haunted me ever since, but when I started to work on this”— she raised her copy of The Borrowed Knapsack — “I didn’t focus on the memory itself the way I usually do, but on the feeling the memory gave me.” She looked across the audience, noticing that a couple of people were writing down what she said. “The incident really has nothing to do with the book, but I can tell you about it if you like.” 

There was a chorus of “Yes!” and “Please!” (What else were they going to say?) so she replaced the book on the lectern and, in a confiding tone, continued.

“All right then,” she said. “So, my dad was invited to speak at a conference in Prague in the summer when I was ten. My mom decided to go with him, and they arranged for me to stay with some friends of theirs — the Thistles, also academics — who had a cottage in Muskoka. My parents probably figured it would be a great little holiday for me, but I barely knew the Thistles, and they didn’t have any kids, and the weather was cold and wet. Mrs. Dr. Thistle was working on a paper, and I was told that she must not be disturbed. Mr. Dr. Thistle read books and listened to music on head phones and, rain or no rain, went out by himself for walks. I’d brought along a few things to do — books and pencil crayons and whatnot — and I was allowed to help with the meal preparation and the dishes — but most of the time I just sat around, quite bored. I considered it a catastrophe that they had no television.”

She heard small chuckles from here and there and felt the audience settling in to listen, as though she were still reading from the book. She let her mind go back to the time she was describing.

“A few days after we got up there, I woke one night to the sounds of a man and woman yelling at one another. The noise was coming from somewhere outside, at the front of the cottage which faced the road. My small bedroom windows looked out on the lake, so it was all too muffled for me to make out many words. But the tone was clear: it sounded like the people who were yelling wanted to kill one another. I was terrified — too scared to even get out of bed. I was pretty sure it wasn’t the Thistles — yelling didn’t seem to be their style — but in truth I’d never heard adults raging like that at one another so I couldn’t be sure. I remember pulling my bedclothes up over my head and then trying to peek out from beneath them. After five or ten minutes, red and blue lights started pulsing high up on the trees outside my window, and then the yelling stopped. Suddenly it was silent.

“Then I did get up, and I tiptoed down the hall. I found the Thistles in their housecoats in the darkened living room, silhouetted against the big front window. They were standing next to one another – almost touching but not quite. The cottage across the way — a much bigger place than the one we were in – was all lit up, and there was a police car, lights flashing, on the road that ran between us and it. Behind the police car was an ambulance, its lights flashing too. I couldn’t see any people out there. I asked if everything was okay, even though it obviously wasn’t, and the Thistles whirled around like I’d scared them half to death. When they recovered, Mr. Dr. Thistle said that everything was under control and that I should go back to bed. So I did.

“I have no idea how I ever managed to fall back to sleep! The next morning I asked the Thistles what had happened. Mrs. Dr. Thistle said that the woman who’d was staying across the way had had an accident, and had been taken to the hospital.

“‘Unfortunately,’ she added.

“‘What kind of an accident?’ I asked.

“‘We’re not sure about that,’ she said, looking at her husband.

“‘What about the yelling?’ I asked.

“‘The yelling?’ Mr. Dr. Thistle asked, as if he himself had heard nothing of the sort.

“‘They were probably just worried about her,’ Mrs. Dr. Thistle said at the same moment, and again they exchanged glances. “Sometimes people shout when they are in distress,” she added in a quieter voice. 

“‘It’s nothing to worry about,’ he said. ‘They’re just renters. Not anyone we know.’

“I tried to get them to say more, but I got nowhere. The next day some other friends of the Thistles showed up in a boat — they were staying across the lake, and they had a couple of kids my age. The sun came out, the lake got all blue and sparkly, and the rest of the week turned out to be a lot more fun than the first half had been. I was either too busy or too worn out to think much about the night-time shouting match until the day before my parents were coming to pick me up. Two cops showed up at the door around dinner time, wanting to talk to the Thistles. I remember being scared that it had something to do with my parents, but it turned out that the man from the cottage across the way had been found dead in the lake that morning by some other cottager out fishing. He’d turned up near the bottom of the cliff I’ve described in the passage.” 

Sarah took a sip from the bottle of water on the lectern.

“Not ever knowing any details about that memory was the worst part,” she went on. “When I asked my parents what they’d learned about it after we got home, they said they knew nothing; after all, they’d been away. But surely the Thistles had told them something? They must have known more than I did.

“A few years ago I was thinking about that week in relation to something else I was writing, and for about the third or fourth time I tried to find information about the incident online. But I couldn’t find anything. I asked my parents about it then, but if they’d ever known any more details, they couldn’t remember them.

“Clearly it must have been some terrible domestic-violence situation. But there are still so many questions. Did the man fall from that cliff, or jump? Or did he end up in the lake some other way? And did he drown, or die from other causes? And what happened to the woman?”

Toby leaned in toward the microphone, smiling. “And so it goes,” she said. “In the hands of an imaginative writer, a few questions became the beginnings of a novel.“ She scanned the audience. “Are there any other –” 

But that wasn’t the point Sarah had intended to communicate about the writing process. 

“It wasn’t anything about the events themselves,” she said, leaning back in toward the lectern. “It was partly the setting, but it was mainly the emotions – the dread, the fear of not knowing what had happened. That was the important part for me: I attached those same feelings and that same place to an entirely different story. I think inspiration isn’t taken from the surface of a recollection: it comes from beneath it, from the fissures between the facts.” She stole a look at Constance Browning, and was pleased to see her nodding. 

“Letting yourself sink into a feeling you had in childhood is a really good way to evoke feelings in your writing,” Sarah concluded, delivering one of her trade-mark nuggets of writing wisdom. “Our emotions are less complicated when we’re young.”

Toby invited another few questions. The first few were fairly straightforward and then a woman who looked to be in her sixties near the back wondered why Sarah’s main character had said she didn’t want to be married to a paraplegic. “Sounds a bit ableist to me.” 

Sarah nodded, took a breath, and then responded. “It’s not intended to promote ableist thinking,” she said. “It’s just the way she talks. It’s the way people talk. We let down our guards in private, under stress. We use words we might not use at a lectern, for example.”

“But don’t we have an obligation to set an example?” the woman asked. “As writers?”

“I think our obligation is to tell the truth,” said Sarah. “Even when we’re writing fiction. If people talk that way, characters talk that way.”

“Did you think about that, when you were writing it?” The woman wanted to know.

“I did,” Sarah answered. She realized she was keeping her eyes away from Constance now – reluctant to see how she was reacting to this exchange. Or to know how Jayda was responding.

Someone near the front turned around and said to the woman at the back, “If we are setting examples all the time, there will be no conflict. No story. Crime writers couldn’t allow their villains to murder anyone, for God’s sake.”

There was some uneasy laughter. 

“Don’t be ridiculous,” said the woman. “That’s not what I’m talking about. I’m wondering where you draw the line. What if she’d said, ‘I don’t want to be married to a fat person’? Would that be acceptable to you?”

A few people volunteered their opinions. Sarah stayed out of it, and Toby managed to wrap the whole thing up before it could go off the rails. She said that people could purchase a copy of The Borrowed Knapsack and Sarah’s earlier novels, as well as books by a few other local authors, at the sales table in the lobby outside the lecture theatre. She expressed gratitude to Sarah for agreeing to stick around to sign books if anyone wanted her to do that. Toby concluded by saying that since the whole area had to be cleared in half an hour because of another event that was happening that evening, everyone who was so inclined could re-assemble in The Half Horseshoe a couple of blocks away.

It was more like forty-five minutes before Sarah finished signing books and as she headed out, still escorted by the diminutive Toby Abrams, she was surprised to find Constance Browning and Jayda Banks waiting the exit doors, leaning against a bank of air conditioners.

“We figured you’d be going to the pub,” Constance said. “We thought we’d walk over with you.” She added, gesturing at her companion, “I’m sure you know Jayda?”

“I know who you are, of course,” Sarah said, extending her hand to shake Jayda’s. “We’re Facebook friends, aren’t we? But I don’t think we’ve met.”

Smiling warmly, Jayda said with a trace of a Caribbean accent, “I loved the reading.” 

Jayda sounded much friendlier than she’d seemed in other contexts where Sarah had seen her, which had been mostly online and mostly in situations where Jayda been discussing political issues or her own writing, and looking somewhat fierce. She was wearing a pale green top and black jeans under her overcoat, and her long braided hair was pulled up on her head where it rested like a crown.

Sarah indicated Toby. “I imagine you both know Toby Abrams?” 

They did. 

Even though they had never met before either, Constance had not bothered to introduce herself to Sarah. Sarah decided that this was perhaps because she assumed that everyone knew who she was, which was probably true  — she was famous by Canadian standards, and had been for more than a generation. Or maybe she’d just forgotten that they hadn’t met before. 

Constance was taller than the other three women by half a head — a full head taller in Toby’s case. She must have been five nine or ten, Sarah though. She was wearing a full-length camel coat over her suit, ankle-high leather boots and a crocheted cloche hat that matched her scarf. Now in her mid sixties, she’d lost none of the unique Browning aura that made it seem – even when she was in the middle of a crowd – as though she stood alone, isolated by the magnitude of her talent. 

“Shall we?” Toby asked, pushing open the door to lead them out into the chilly late-October afternoon.

Chapter 2

There was a stiff breeze and they put their heads down and walked quickly. Leaves scurried about their ankles. When they reached The Half Horseshoe, they paused together just inside the door to gather themselves again before heading down to the lower level. There, several tables had been pushed together by those who’d arrived before them.

“I’d hoped we’d have a moment to chat on the way over,” Constance said as they went down the stairs behind Toby and Jayda. “Perhaps we could sit together.”

“I’d like that,” Sarah said, her curiosity piqued, “but first I have to hit the washroom. Can you grab me a seat?”

“I can,” Constance said, giving a small wave to a couple of people who were pointing at empty chairs, inviting her to sit near them.

Sarah touched up her makeup, fluffed her hair and double-checked as much as she could see of her outfit in the washroom mirror; she was wearing a dark green turtleneck, a short plaid skirt and high brown leather boots, the most expensive pair of footwear she’d ever owned. The turtleneck was way too hot and itchy, but it suited both her body and the season. 

When she came out, she saw that Constance had found a seat near the middle of the group and thrown her coat over an empty chair beside her. Jayda was across from Constance, and Toby was sitting at the far end of the string of tables. There were pitchers of beer and a lot of glasses, and it appeared that several conversations had already taken root. There were about twenty people all together.

Sarah carefully lifted Constance’s soft camel coat and placed it, along with her own puffer jacket, on an unoccupied chair behind them. As she sat down, a woman across the table, to the right of Jayda, said, “Great reading, Sarah. I’m really looking forward to getting into The Borrowed Knapsack.”

Sarah vaguely recognized her; she was a writer, a thin woman about ten years older than Sarah, with beads threaded into her hair. She thanked her, settled herself into her chair, and poured herself a beer. 

The woman to Jayda’s left said, “I though you also handled the questions really well.”

Sarah raised her glass, directed it down the line of tables as if to toast, and said, “I have Toby Abrams to thank for that.” The beer tasted cheap and a bit flat, but its immediate effect was welcome. She took a deep breath and felt herself beginning to relax.

“I’m kind of glad I’m not doing any readings at the moment,” Constance said, as a young server leaned in and put a glass of white wine down on the table in front of her. “There’s so much political correctness these days, I’d be incredibly apprehensive about finding a passage that was safe enough to read.” She rummaged around in her purse, pulled out a credit card and handed it to the server.

“You couldn’t go wrong if you tried, Constance,” Jayda said, laughing. “Your characters are paragons of humanity.”

“So are Sarah’s,” Constance said, punching numbers into the credit-card machine. “But that didn’t help her today, did it? I hope that my characters are human as well as humane, and humans don’t always say the right things.” She pulled off a copy of the receipt and handed the machine back to the server.

“True enough,” said Jayda.

The beaded-haired woman said, “It’s ironic that writers have to worry about not being woke enough. When it came to issues surrounding cultural appropriation, the literary community was on it decades ago. Not that anyone wants to turn back the clock, but the ship we launched seems to be running over a lot of writers these days.”

“Just because we were early out of the gate doesn’t mean we fixed anything,” Sarah said. “Not even in our own community. But it’s a minefield now, for sure,”

“Tell me about it,” said a good-looking guy with messy blond hair sitting on Constance’s far side. “Sometimes I feel like I need to play the gay card just to avoid being put in the basket marked ‘young White males’.”

“Christian,” Jayda asked him, her face the picture of mock alarm. “Are you saying you’re not gay?”

He laughed, then said, serious again, “It’s just always there. You can never just be you without dragging your demographic along behind you. It affects the writing as much as it does what happens when you’re trying to get published.”

Jayda nodded and sighed. “It’s a hard time.”

“But I still hope we’re moving in the right direction,” Sarah said. “Inside the community, I mean.”

Jayda shrugged. “Depends on the day.”

“Are you tired?” Constance asked Sarah in a clear attempt to change the subject.

“Not yet,” Sarah said, taking another drink of her beer. “The adrenaline’s still going.”

A young woman had approached from farther down the table, and now she pulled up the chair behind Constance – the one in which Sarah had deposited the coats. Perching her butt on its edge, she first expressed her appreciation for Sarah’s reading, then asked Constance a question about Fire in the Trees – one of Constance’s earliest books and the first one Sarah had ever read. It was a good question, and Sarah was keen to hear the answer, but at that moment, the woman to Jayda’s left leaned across the table to ask Sarah for advice about finding a publisher. 

In no time, it seemed, it was almost six o’clock and several people had left — including Toby, with whom Sarah had earlier walked to the foot of the stairs in order to thank her again for all her work. A few of the others were deciding whether to order something from the food menu or find another place to eat. 

Sarah had at least an hour’s drive north through the city, so she extracted her wallet from her handbag, pulled out a twenty, put it on the table for the beer, then started to get her things together. Constance was also reaching for her coat. She asked Jayda if she was ready to go, and Jayda looked up with a smile and shook her head. “I’ll grab a bite with these guys and catch an Uber home. But thanks.”

As Sarah followed Constance toward the exit, the older woman said, “We still haven’t had a chance to talk.”

“That’s true,” said Sarah. “Maybe I can give you a ride somewhere?”

“I have my car,” Constance said. They were approaching the pub’s glaze-windowed exit doors, and the older woman gestured to the south. “I’m parked on College. I imagine you’re somewhere closer.”

“I’m in a lot, a block or so the other way,” Sarah said, pointing north. It was dark now but the wind was still blowing leaves and litter around outside. Snow was in the forecast. “I could give you a lift to your car?”

“I need the exercise,” Constance said. “But thanks.” She paused. “Maybe we could meet for coffee sometime.”

“Sure,” Sarah replied, turning from the doors to look at Constance. “That would be great.” Clearly Constance had something specific she wanted to discuss. Sarah wondered what it was.

Constance was looking evenly back at her. She had lovely grey eyes with dark lashes, and a faint brushing of aqua on her lids. The lines that age had added around her eyes and mouth didn’t diminish her attractiveness. Sarah had noticed before how the appearances of people who were intelligent and engaged were somehow enhanced rather than diminished as they got older. Their lines added gravitas, she supposed.

“How about Thursday?” Constance asked, now rooting around in her handbag for her keys. “That’s the next day I’m in town.”

“You don’t live in the city?”

“I’m out in Ajax, near the lake,” Constance said.

“That sounds nice,” said Sarah. 

“It’s a lovely spot,” Constance said, nodding. “Why don’t we meet at the AGO? I’m a member, and they have wonderful pastries.”

The Art Gallery of Ontario was right downtown, difficult to get to on a weekday afternoon. If it had been anyone else, Sarah would have insisted they meet somewhere else — Ajax itself would be easier for her to get to than the AGO. But this was Constance Browning.

They agreed to find one another near the coat check at three p.m. on Thursday, and exchanged cell-phone numbers in case there were any changes. Then they headed off, in opposite directions, into the early night.

Chapter 3.

As she drove north on Avenue Road, Sarah thought about the hug she’d shared with Toby Abrams when the bookseller had left the pub. She’d seemed happy enough, and as warm toward Sarah as ever, but there was no way of knowing for sure. It would be nice if someone invented a pair of eyeglasses that allowed you to read how people were actually feeling, rather than having to guess from their behaviour. Maybe the glasses would measure the other person’s temperature, in the way that mood rings were supposed to work. Not that she thought that mood rings actually did work — some other technology would need to be involved — but something along those lines could come in very handy. On the other hand, if the person you were looking at figured out what you were doing, they’d probably sue you for invasion of their privacy.  

There might be a short story in there somewhere.

Surely Toby would have been pleased with the number of books she’d sold. Several people had bought copies of Time on a Leash and Miss Carr Gets a Chill in addition to The Borrowed Knapsack, and she’d sold at least fifty of the latter. Toby had also sold a few of the books she’d brought along by other Toronto authors. She’d probably regretted not having more of Constance Browning’s books on hand, but who’d have  expected that Constance would show up? 

Sarah felt like she’d imposed on her relationship with Toby to make this happen, and it wasn’t a favour she’d ever be able to ask again. She’d done it in part to prove something to her publisher, who had expressed pessimism at the viability of holding a reading on the university campus on a weekday afternoon. Toby had given it her all, offering to act as emcee as well as bookseller, and bringing along one of her staff to work the sales table. She’d said she was happy to do it: supporting local writers was part of what she considered to be her mandate. 

Sarah was happy about the turnout, which had been even greater than she’d hoped when she’d originally courted Toby to do this favour for her. A couple of Sarah’s friends taught at the university, and some of the younger people in attendance must have been their students. The review in The Star on the weekend had probably helped as well. Not that it had been all that glowing, but it had mentioned the reading, which might have helped to get people out. The response to her reading had been warm; word-of-mouth might lead to more sales at the bookstore later.

But booksellers were generally reluctant to host and service readings that weren’t on their own premises these days, even for “one of their favourite writers” as Toby had frequently called Sarah. It was a lot of work to schlep the books and set up the table and organize the necessary systems for collecting income from the sales — there were still people who wrote cheques when they bought books, for god’s sake. And others who paid cash, which meant that you needed to be able to make change. Such events usually lost money. Sarah really hoped that Toby had covered her costs and more. 

Maybe she’d send flowers to Toby’s shop tomorrow, as a token of her gratitude. Would that seem over the top? She’d already bought her lunch. But flowers were a good thing. You couldn’t have too many flowers. The other people on Toby’s staff would notice them, and so would customers. 

She’d do that.

As she crossed Lawrence Avenue still heading north, Sarah realized she was both hungry and exhausted. She had been happy enough to leave the group at The Half Horseshoe — no matter how friendly a gathering was, since the pandemic she always reached a point after a couple of hours when being alone seemed preferable to company.  But as her thoughts turned toward her destination, her reluctance to reach it also grew. Her mom had been unable to attend the reading because of a later-life learning class she was Zooming in on, and she’d be full of questions about everything she’d missed. Sarah didn’t feel like reliving it all again just yet.  

Maybe she should grab a bite somewhere before she got back to the condo. 

Sarah’s father, Sterling Elliott, had died early in the pandemic – not directly from Covid, but probably because of it. He’d been taken to Emergency by ambulance one morning in December, 2020 after slipping on a patch of black ice on the sidewalk, and had died of a massive heart attack while awaiting treatment for a broken hip. At first, Sarah’s mother, Fannie, had been furious with him: clearly, she felt, he had not made enough noise to attract the necessary medical attention during what must have been an agonizingly painful episode (“Mr. Suck-It-Up really learned his lesson that time,” she’d said sardonically at one point), but her rage had soon merged with guilt (“If I’d been with him, this never would have happened…”), then morphed to grief and an immobilizing depression. She’d lost interest in everything, including eating, her personal appearance, housekeeping, even making video connections with her friends. She’d spent entire days watching CNN, which only intensified her sense of hopelessness. Bringing in anyone to help had been impossible because of the pandemic, even if she’d agreed to let Sarah try to find someone, which never would have happened. Sarah had spent so much time driving from her place to her parents’ apartment uptown to bring in groceries and pick up after her mother that she’d finally put most of her stuff into storage and moved into their guest room. 

She’d been on the verge of moving from her own apartment anyway when Covid hit: after the thing with Wyatt had gone south she’d no longer wanted to be there. She’d been wondering about actually purchasing a place in spite of the insanity of the market: it felt to her as though doing so would be a way of announcing to herself that she was not waiting for the ideal partner to come along before she started building a strong and lasting future for herself. 

A tangible statement of that nature would have been reassuring in one sense — releasing her from the clutches of what was certainly futile expectation — but it would also have meant relinquishing some part of the anticipated life trajectory that, to women of her age and demographic, came almost as a birthright. Owning your own house meant that from here on in, falling in love with someone and planning for a future together was always going to involve a discussion about real estate. It put you in the same category as those who were divorced:  nothing could be spontaneous; legal documents would always be involved. Buying property was acknowledging the onset of middle age.

In the year and a half since she’d made the temporary move to her mother’s place, she’d been so busy with the editing of The Borrowed Knapsack and doing all the other things a working writer had to do, in addition to doing what she could to help her mother get back on her feet, that she hadn’t had much time to think about what she would do next. She was going to have to start weighing her options again soon. 

Fannie Elliott was in her mid-seventies and full of energy, and Sarah had no concerns about leaving her to her own devices. To her credit, Fannie had already called upon internal resources that Sarah hadn’t even known she had possessed to begin to pull herself out of her grief and the accompanying slump, and now she was ready to move forward. It was time that both of them got on with their lives and, if the truth be told, it would be good for Sarah to finally face the fact of her father’s death and her mother’s widowhood from her own personal perspective. She’d had some trouble doing that with her focus on her mother.

A week or so ago, Fannie had actually raised the subject of Sarah’s move herself, letting it be known that when Sarah was ready, she’d be happy to help her look at houses. She’d even offered to act as a co-signatory on a mortgage if Sarah needed her to do that.

“It’d be fun,” Fannie’d said. “If you get a place with a back yard, I could even help you with the garden. I’ve missed having flower beds to weed and fresh-from-the-garden vegetables to eat.”

“You’re asking me to take up market gardening for you?” Sarah had asked, half-joking. “You do know that writing is a full-time job?”

“I respect that,” her mother had replied. “But you’re between books now, aren’t you?”

“I won’t be forever. I may already have started something new.”

“I’m not talking about acres: just a cute little pocket garden, as it were. I’m just saying I could help.“

Sarah had turned and leaned against the counter, indicating with a sweep of her hand the open living-room-slash-kitchen area, the view of the city through the windows. “It’s occurred to me that I might be smarter to live in a place like this, that maybe I should buy an apartment instead of a house. Less upkeep. It’d need to be downtown, of course. Not way out here in the boonies.”

“No way,” Fannie had protested. “You’ve got to have a yard. It’s good for the soul to be able to get into the fresh air without having to take an elevator.”

At least Fannie hadn’t mentioned how good a yard would be for any children that Sarah might decide to have. Although Sarah’s father had occasionally thrown out comments relating to biological clocks, Fannie had never raised the subject of kids with her daughter — despite the fact that she would probably have traded her soul to have a grandchild. Sarah was no more going to make that happen just to make her mother happy than she was going look for property that would accommodate a garden.

Sarah turned into the parking lot of a pho place north of Finch where she’d eaten once or twice before. She was pulling into a parking spot, and telling herself to try something besides the pork vermicelli for a change, when her phone rang.

It was her mom.

“Where are you?” Fannie asked.

“Just about to grab a bite. I’ll be home in less than an hour.”

“Can you pick something up for both of us?” her mother said. “I’m ravenous.”

“It’s almost seven-thirty! I figured you’d have eaten long ago.”

“I’ve been on the phone wth your sister,” she said. “I’ll tell you all about it when you get here.”

“Is she okay?”

“She’s fine. But she’s got lots of news.”

“That’s great!” Sarah said. “Vermicelli bowl okay?”

“Lemongrass and pork,” Fannie said. “And get a couple of spring rolls, too. I’m starving.” 

If there were mood-gauge glasses, Sarah reflected as she got out of the car, her mother would use them on her. And that wouldn’t be so good.

Chapter 4.

Constance merged onto the 401 from the Don Valley Parkway heading east, and pressed down on the accelerator. The tiny stretch in the arch of her foot felt good, and drew her attention toward a glimmer of optimism in the grey-woolly cloud of pointlessness that normally characterized her thoughts. 

While even one bright spot was welcome, over the past several years of increasing desolation, she’d experienced such glimmerings — sometimes they were sharper, more like “sparklings” — before. She had even occasionally (as in this case, if she were honest) taken to engineering their appearance herself, rather than just waiting for them to show up unexpectedly in the post or by phone or email. They made her feel good for a moment, in the manner of a first infusion of good scotch into her system, but she knew better than to put much faith in them. After a time they’d burn themselves out or scatter beyond her reach. 

Constance considered it a sign of health or at least of life that she hadn’t entirely given up on hope: she still sought out those little sparks, or worked to make them happen. Perhaps she was “hopelessly addicted to hope,” as some song had once said – or should have said. She believed hope to be an essential attribute of a certain kind of writer – the kind she was herself. But, given their temporary nature, seeking or engineering such bits of optimism was not enough: you had to do something that would breathe them into viable life, and do it quickly before they vanished. And that required energy. That she had summoned enough of it today to get herself properly dressed and out into the city was worth celebrating of itself: it had been months since she’d done that. But now she had to figure what she would do next. She needed to make a plan.

About half an hour from home, snow began to fall and Constance’s thoughts turned to the winterizing Bart still needed to do before their annual parting glass (which would probably feature the aforementioned scotch: Laphroaig or something like it, hers straight up, his humiliated through the addition of ice and ginger ale). That’s when they would do their bi-annual settlement of accounts, and she would hand him an envelope with a few hundred dollars in it – money that he would use up over the winter as he cleared her snow on his own schedule and paid himself at whatever rate he found appropriate. Before then, the last of the garden pots and tools would need to be stowed in the shed behind the house, and he’d want to bring the snow shovels and brooms out into the front and back verandahs. She’d thought he was intending to dig up some of the glads and dahlias and wrap and store them for the winter, but he hadn’t mentioned that again since they’d talked about it in early September; maybe he’d forgotten about them or perhaps he’d changed his mind.

There used to be a final raking to do at this time of year as well, but a couple of years ago the two of them had agreed that they should leave the organic detritus for the comfort of insects over winter. Long ago, when she’d first bought the house, there’d been storm windows to put in each autumn as well, but the royalties from her books had been steady and substantial then and early on she’d installed all-season windows.

With the amount of snow coming down, increasingly as she left the highway and headed south toward Ajax, it looked as though it was too late in the season for raking anyway. Bart Samoil, an unkempt man with a raggedy long beard and ponytail who resembled either a leftover hippie or a lumberjack or possibly even a homeless person depending on the day and context, and whose strength in his late fifties exceeded that of most men in their twenties, worked his several odd jobs on his own timeline, getting to her place either when he could or when he felt like it – she was never sure. In an ideal world, he’d have done the final work of the season at least three weeks ago. Now the ground had grown cold and this new winter was not likely to retreat again. But he was as irascible as she was, and she let him have his way in most matters, out of fear of losing him.

As she pulled into her driveway, she was pleased to see that the timers for the living room and bedroom lights had functioned properly. Especially now, with the snow falling through the darkness onto the trees and lawn surrounding it, the two-story house with its grey-green siding and white porch posts and shutters looked occupied and inviting. Her heart did a little turn of satisfaction at the sight of the little nest she’d created for herself. If anything, the bouts of imprisonment during the pandemic had affirmed the rightness of her long-ago decision to purchase property this far from the city.

She gave a small grunt of discomfort as she reached into the trunk of her car for the few things she’d picked up in town: they included a new queen-sized bedspread and two brightly coloured pillows for the couch in the rental suite downstairs. The suite had been empty since a month or so before the first lockdown started, but she’d posted the unit again on Craig’s List earlier in the week: she couldn’t afford to leave it empty any longer. The house needed new shingles and a few other repairs and updates, and her writing income had been waning for too many years. She told herself that it would be nice to have the sounds of another human in the house, and might even prove practical if she should take a tumble down the stairs or in the shower. Not that she intended to do those things: she may have some arthritic moments, but she wasn’t old enough yet to lose her balance and be unable to recover.

She went up the steps to the verandah, unlocked the front door and stepped inside, stamping the snow off her shoes. She felt a moment of relief at being home again. She’d been worried about going to the reading and had nearly reneged on her arrangement with Jayda to attend. For almost a decade — probably since around the time that her agent had stopped pretending to represent her — readings and writers’ gatherings had left her in despair, even physically nauseated. After attending one, it would take her days or weeks to recover enough that she could write again. The pandemic had provided a welcome reprieve from such encounters — it had been more than two years since she’d felt obligated to go anywhere, especially to an indoor gathering. But now she had, and this time she felt almost certain that a connection had been forged that could be constructive, even beneficial, to her future. 

She surveyed the inside of her head and found the bit of optimism she’d noticed in the car. It was safe until Thursday, when she and Sarah had agreed to meet for coffee and after that, who knew? It was in part up to her what happened next, and she had two days to think about it. It hadn’t even occurred to her to make such an arrangement with Sarah until the moment before she’d done it, just as she hadn’t realized that talking with the younger writer might be a brilliant idea until half way through the reading. But she had done it, and she was pleased. This itself could be seen as a corner for the better, turned.

It was almost seven thirty and she was ravenous. After hanging her coat in the front closet, she pulled a leftover serving of tuna casserole from the fridge, along with some romaine lettuce, a cucumber and a tomato. But before she started turning the assembled food items into her evening meal, she was distracted by the sight of one of her notebooks on the table – the one most like a traditional journal, although it was far from a diary. She sat down at the round kitchen table, pulled the notebook toward her, opened it, picked up the ballpoint pen that she kept inside it like a bookmark, and started to record her thoughts.

Chapter 5.

Sarah had arrived fifteen minutes early and was, not for the first time, admiring the serpentine pale-wood -framed access ramp inside the doors of the Art Gallery of Ontario — a work of art in itself — when Constance materialized at her side.



Note: Publisher and agent inquiries are welcome

Submitting Stories to LitMags, Part II: Getting them back

Just over six months ago, I wrote a brief post about how I’d shaken some of the Covidious dust from my writer self and sent five short stories out to magazines. They had been sitting here in my computer doing nothing to benefit me, after I had gone through all the agonies and joys of bringing them to life.

I said I would report back.

Here’s the report:

  • One story came back in November, a rejection with some positive feedback and some useful comments that I will use in the revision.
  • Another story also came back in November, a rejection along with an invitation to submit to the journal (Crazyhorse) again. I sent the story out to another journal in January and it was turned down in May.
  • One came back in March with a nice note basically saying that they’d love to tell me why they rejected the piece, but they “receive so many submissions…” blah blah blah.
  • One was accepted in March. “A Change in the Climate” is forthcoming from Prairie Fire. Not sure when, but this delights me as I respect Prairie Fire a lot. The last story of mine that they published ended up in a Journey Prize Anthology.
  • One story is still being considered. Sigh.

I am currently working on a new novel, The Green House, and I have decided to release it in instalments here on The Militant Writer. Watch for the first chapter soon.

In the meantime, you might be interested in my forthcoming adventure with psilocybin, which you can read about here.

Submitting Stories to LitMags

I have had five completed short stories languishing in my computer (yes, that’s what they do there. I checked) for several years, and this weekend I have determined to get them out again to seek their homes in appropriate journals. It is a very demoralizing experience to mail out stories. I used to find it exciting, but that was because I used to be certain everything I wrote would be accepted immediately. I have been humbled. But here we go….

Wish me luck because clearly it requires some of that, as well as work and talent. I have no control over the luck or the talent, but I have put in the work!

I’ll keep you posted.

The Perfect Parent

by Mary W. Walters

Polly Prewitt was a perfect parent, or as close to one as any human being can reasonably expect to get considering the materials parents have to work with. She’d suspected this for many years, although she was careful not to speak of it to anyone, including her husband, for she was also sensitive to other people’s feelings. But it gave her a certain satisfaction to know that her children would be far-better-adjusted adults for having been raised by as conscientious a parent as she.

When friends discussed their children’s bed-wetting problems, she gave little clicks of sympathy and quietly savoured the fact that her boys had both been trained before their second birthdays, and without a single tear or relapse. When other people mentioned the abysmal eating habits of their offspring, Polly gently let it be known that her boys ate what she gave them or did not eat at all. She made no fuss about it with them, she said, and they ate: spinach, tofu, the whole works.

Polly nurtured her pride by reading covers of magazines in stores. “Are you passing on gender stereotypes to your children?” Nope, she mentally responded. Her husband William did the dishes every other night and made dinner for them all on Sundays.  Polly had taken a course in automotive mechanics specifically so the boys would never get the idea that Mothers Cooked and Fathers Fixed Cars. And she had not said a single word against it when Ricky demanded a doll last summer. She wrote it down on her list and bought it for him at Christmas; that way he learned he did not get everything he wanted at the moment he asked for it. It was a cuddly doll, a male baby doll, anatomically correct. The fact that by Christmastime Ricky was in kindergarten and refused to play with it – the other little boys had told him that dolls were for girls – was beside the point.

Jamie had learned that One Takes Responsibility for One’s Actions when he kicked the front wheel of his bicycle off centre in a fit of temper and could not ride it until he’d saved enough from his allowance to pay for the repair.

Her boys were in good shape, she thought cheerfully. And so was she.

And then one day she was standing in the checkout line at Safeway, frowning to herself at the boxes of sugar-coated cereal in the cart of the woman ahead of her, when a brightly coloured magazine caught her eye. She looked up. There, in bold red letters on the cover, was a question that stopped her cold.

“Has your child learned to deal with loss?” it said.

Loss? Loss? She’d never even thought of that, and here was Jamie almost nine and Ricky already past his sixth birthday. She snatched a copy of the magazine and tossed it, front cover down, into her cart.

She read the article covertly before the boys came home from school. She read it twice. The writer urged her to allow her children grief in little ways, so they would be better able later to handle major loss. A pet, the author said, is a perfect medium for teaching such a lesson.

“Do not ever attempt to replace a pet until the grief has been worked through,” the article advised. It went on to point out the identifiable stages of grief: denial, anger, finally acceptance.

Polly’s boys had missed all that, and she would certainly need to set the matter right. What if something terrible happened to her or William or, God forbid, to any of their school friends, and she had not prepared them for it?

All right. A pet, she thought, as she watched Ricky and Jamie brush their teeth that night, before she read them their story. Jamie preferred to read to himself, but she insisted. She knew that reading aloud fostered closeness between parent and child.

A dog would be too much trouble, she decided, and by the time it was ready to teach its lesson in grief, the boys would probably be living elsewhere, attending university or sweeping streets. (Whatever life course they chose was fine with her.) A dog, or a cat, would simply take too long.

Polly couldn’t stand rodents, so mice were out, and birds could live for years.

“Fish!” she said, firmly closing the book in the middle of a chapter.

“What?” said Ricky.

“Nothing” said Polly, opening the book again.

Next day, when their father had taken them to swimming lessons, she went to Sears and bought a big glass fishbowl and a guppy that looked suspiciously pregnant. She bought fish food and received instructions in the care and feeding of fish. She did not admit to the salesclerk that her intention was for the fish to die. In fact, she knew she wouldn’t be able to help sustaining its little life for as long as possible. Polly was an honourable woman.

The boys were delighted with her offering. The bowl was given a position of prominence on the coffee table in the living room. Ricky and Jamie watched the little brown being swim around for hours on end. Ricky asked at one point if he could take it out and play with it, but Jamie told him that fishes can’t live outside the water. Ricky didn’t want the fish to die, did he? Ricky solemnly said, “No.”

Polly looked on, approving.

She did not tell William of her plan because he’d only ask her at breakfast how her “ghoulish death experiment” was coming along, or words to that effect. He was capable of ruining everything when he didn’t understand her motives, and she had suspicions he would not understand them this time. There are things a parent has to do alone.

Polly changed the water regularly and fed her little charge, and it thrived. After a week or so, the boys lost interest in it, and so she gave it a name to foster their feelings of warmth and attachment toward it. “Jean,” she called it, a suitably androgynous name. The guppy had not yet produced any little guppies (which would have been a bonus: two lessons for the price of one), and William said all fish were rounder in the middle than they were towards the ends. She let the boys feed it, but even that bored them rather quickly, and they told her that since she’d bought it, she could feed it. Responsibility for one’s actions coming back at her.


Polly had almost decided that Jean would become a permanent part of the household, and a permanent addition to her daily routine, when she went downstairs and found him/her belly up.

Polly sighed and, her expression appropriately mournful, went up to tell the boys.

“I have some bad news for you,’’ she said when she went into their room. “Our little Jean is dead.” (“Tell them the truth!” the article admonished. “Do not tell them the creature has gone to sleep or gone to heaven. Be honest!”)

“No kidding,” said Ricky, and he began to hum the Oscar Mayer song as he pulled his pyjamas off.

“Can I see it?” Jamie asked.

That was better. “Let them see the body of the pet,” the article went on. “Let them confront their grief, hug the pet and cry.” Hugging was out, but the principle remained.

“Of course. You both can.”

She led them down to the living room and stood back to observe their reactions.

“Hm,” said Jamie. “What’ll we do with it?”

“We can bury it out in the garden, if you like. Together. The three of us.”

“Great!” Ricky said, and he ran off, half-clad, to get his shovel from the sandbox.

“Naw. I’ll be late for school and I promised I’d bring the soccer ball. Let’s just flush it.”

So Ricky and Polly buried the little bit of fish, and Jamie left for school. (Denial, Polly thought. He’s not confronting this issue. It takes time to come to terms with loss.) Ricky seemed more interested in a worm his shovel had unearthed than in the farewell to Jean, but Polly was satisfied. At least he had been present.

She waited for the boys’ reactions, but they never once mentioned the death of the fish. At last she took the fishbowl, clean and polished and very empty-looking, and she put it on the kitchen table to emphasize their loss. It was cruel, but it had to be done.

“Can I have it for an ant house?” Jamie asked.

“No! I want to collect bugs to keep in it,” Ricky said. “How come he always gets everything?”

Ants. Polly turned the possibility over in her mind. At least Jamie would have a commitment to his ants. He’d wanted them, and the loss would be greater for his having been the instigator. Ants it would be.

“Well, Ricky,” she said. “Jamie spoke first this time, and I’ve told you often enough before that life’s not necessarily fair.” She looked at Jamie. “Go ahead and start your ant colony, but I’m going to carry this out on the sun deck. I won’t have them in the house.”

It took less than a week for all the ants to escape, and they did not seem to have set up any domestic arrangements in the bowl at all during their brief stay. Polly found Jamie on the sun deck after school one day, staring glumly at the pile of dirt he had poured from the fishbowl onto the indoor/outdoor carpet. She did not mention the mess. He had enough to deal with, poor little tyke, having to confront all of this so early on in life. But it was good, she thought, as she saw a tear roll down his cheek.

She went out and sat beside him. “Do you want to talk about it?” she asked.

“I feel sick,” he said.

“That’s the sadness, dear. Nothing lasts forever, you know. All things must go away or die at some time or another.”

“No, Mom. That’s not it. My stomach hurts,” Jamie said, and then he threw up on the lifeless anthill.

It turned out to be chicken pox, and he was home for a week.


“Now, bugs!” Ricky clapped his hands when he saw the fishbowl sitting clean and once again empty on the kitchen table.

“All right. But this is your last chance.”

“Last chance for what?” asked William, looking up from a forkful of shepherd’s pie.

“Oh, nothing. I’m just tired of pets, that’s all.”

Ricky collected a ladybug and two little green things and a fly before he, too, was stricken with chicken pox. He’d covered the top of the jar with a piece of plastic wrap with holes poked in it and thrown in a leaf or two for food. He’d given each bug a name and spent a long time watching his captives in the bowl. He’d left them on the sun deck when he began to feel unwell.

One morning, spotted but recovering, he recalled his menagerie and went downstairs to find them dead.

“Humph,” he said and went back to bed, leaving Polly to rinse the bowl once more.

In the afternoon, she found a piece of paper on which Ricky had written his name backward. Reversed writing was, she knew, a sign of deeper problems. Ricky was reacting. She leaned the paper against the empty fish/ant/bug bowl.

“Tell me why you did this” she asked him gently when he came down to supper.

“Did what?”

“Wrote your name backwards. Did you notice you had done it?” Ricky shrugged. “Jamie bet me a nickel that I couldn’t.”

“That’s it! I’ve had it!!” Polly, the almost-perfect parent shouted. She ran downstairs and wrote a caustic note to the perpetrator of the nonsense in the magazine.

“Loss” she noted in conclusion, “is not a big problem for well-adjusted kids. If everything else is going smoothly, they do not react to it at all.”

She felt better then, almost restored, and she went back to the dinner table.

“You’ve been awfully tense lately,” William said as she carried her plate to the sink and submerged it in the soapy water.

“I just got a little carried away with something,” she said. “It was no big deal. As I’d suspected, everything around here is just fine. And I,” she said, lifting the empty glass bowl into the air, “am turning this into a terrarium.”

“What’s a… ” Jamie said, as the bowl slipped from her hands and smashed to smithereens on the kitchen floor.

There was a stunned silence as the four of them studied the remains of the bowl.

Then, tumult.

“What d’ja do that for?” Jamie shouted. “I wanted that bowl to keep my rock collection in.”

Ricky started to cry. “I wanted to get a turtle.”

Polly stared at them in astonishment. “Keep your voices down, you crazy kids,” she said. “It’s just a bowl. I can get another one tomorrow.”

She stopped and watched their shuddering shoulders and listened to their sobs.

Then she said quietly, “No, I guess I can’t,” and went to get the broom.

(c) Mary W. Walters. Originally published in Chatelaine magazine. Also published in Cool, a collection of short stories by Mary W. Walters, River Books (2000).

Wattpad: Engaging Readers as You Write

Note: This article previously appeared in a slightly different form in Write, The Magazine of The Writers Union of Canada

Confession: Sometimes I have trouble writing the next page of my new novel. WPNot because I am short of ideas, but because I have a lot of other urgent matters that demand my attention. I have often envied the writers whose editors or literary agents I imagine standing at their sides like midwives, encouraging them throughout their labour, reminding them of the rewards of manuscript delivery, telling them how much the world wants to see their next baby, and finally urging them to “push.”

When I heard about Wattpad, an Internet platform for readers and writers that attracts 27 million unique visitors per month, and 200,000 uploads of writing per day, I thought it might be part of the answer to my problem. And it has been. But it is also other things.

What It Is

Wattpad is a social storytelling platform where writers can register to post all kinds of work – poetry, drama, fiction and nonfiction – and where readers can read that work: all at no charge.

Most writers post short segments of their works in progress (1,000 to 2,000 words at a time, sometimes much less, sometimes much more), adding to it at regular (or irregular) intervals. Some writers are posting whole manuscripts in serial format that they have previously completed. Others (like me) are posting early drafts of longer works one section at a time. Still others slap up writing fragments like ill-mixed paint with hairs in it, and leave it there to dry — perhaps intending to come back and edit later, perhaps not.

Once the piece is up there, the effort to attract readers begins. You can contribute to this process (but probably only once) by emailing all of your friends and inviting them to check your story out, and by posting your Wattpad link to other social media sites (here’s mine). Of course, you also want to encourage visitors to your page whom you don’t already know, and you can do this indirectly by reading and commenting on the writing of others on the site, getting involved in the discussion forums, and entering the informal competitions Wattpad puts on from time to time. The goal is to get people to “follow” you so that they will be notified whenever you post a new installment or an update.

Every time someone takes a look at a segment you have posted, your “read” counter goes up. Readers can also vote for or post a comment on your work. The more reads and votes you get, the greater are your chances of being noticed by even more readers.

Some people use Wattpad as an end in itself – they are not interested in publishing elsewhere. Others are creating works ultimately intended for self- or traditional publication. Many writers have several projects on the go. Some ask for input and guidance from their readers; others just write.

Who’s on Wattpad?

The two Canadians who developed Wattpad (Allen Lau and Ivan Yuen) intended it for readers as much as writers, and Ashleigh Gardner, Head of Content: Publishing, says that “Ninety percent of Wattpad visitors are there to read and comment, not to post stories.”

She also says that regular visitors include publishers and agents who are looking for new talent.

“Some writers use Wattpad to promote their books to publishers,” she says. “Perhaps their novel was rejected when they submitted it directly, but now they can demonstrate that there is significant interest in their work.”

Gardner also tells me that the Wattpad app for smartphones and tablets is downloaded about 400,000 times a day. “Eighty-five percent of our visitors now reach us from mobile devices,” she says.

The advantage of Wattpad’s mobility component is clear: your work is accessible to readers no matter where they are, and your followers will receive “push” notifications whenever you post something new.

Copyright and Other Concerns

Gardner says that the site features a very sophisticated data-checking system that not only protects what is posted, but also works to prevent piracy. “All work on Wattpad of course remains copyright to the author,” she says. “Further, it cannot be copied and pasted, and readers can’t download it.”

A few people have told me they’re reluctant to sign on to Wattpad because they fear it will lead to spam, but so far Wattpad has attracted no more spam to me than have Twitter, Linked In, Goodreads or Facebook (which is, in my case, none).

Wattpad has had a reputation for being a place where teens post stories for one another, but if that were true at one point (and wouldn’t it be great to know that there are millions of teens who are interested in writing and reading?), the demographics are changing. “The majority of visitors are now between the ages of 18 and 30,” Gardner says, “and the subject matter of the content is changing as the average age goes up.”

Making Wattpad Work

The important part of making Wattpad work for you is to remember that it is a social media platform. If you don’t engage with it (read others’ works, respond to comments, participate in forum discussions), you will miss out on the very important reciprocation factor, and your work will languish. Further, thanks to algorithms, the more readers you attract, the more readers who will find you on their own.

Networking is not as painful as you might think. While it’s true that the Wattpad platform sports lots of dabblers and thousands of very bad writers, it doesn’t take long to sort the wheat from the chaff. And there are also some very good writers there, clearly intending to do as I am — get the work written and noticed by intelligent and discerning readers.

I’ve found a few manuscripts on Wattpad whose next installments I am genuinely eager to read and I’ve also found a few very careful and helpful readers who will probably help me get through Seeds and Secrets far more quickly than I would ever have done on my own. There is a definite motivation to keep going when readers start asking when you’re going to post the next installment. (As of Jan 1, 2015, Seeds and Secrets had received 1,500 “reads” and 121 votes. It stands about 450 from the top in the General Fiction category.)

In addition to pieces of my novel, I’ve put up a couple of works of short nonfiction on Wattpad – one previously published, one not yet – and received encouraging – and immediate – responses on them as well. I am also posting blog posts from my 2011 solo trip to India – Watch. Listen. Learn – which seems to be very popular. In fact, the response is making me seriously consider publishing it as a book, which I had not considered doing before.)

For me, Wattpad is like a humungous writing group where no one has to make coffee or serve beer, get dressed before offering feedback on other writers’ works, or pay any attention to comments from readers who don’t get what they’re doing.

Wattpad is not for everyone, of course, but if it sounds like a tool you could use to stimulate your writing and find new readers for your existing work, check it out. I’ll be happy to read the writing that you post – as long as you read mine. :)


Update: You can check out Wattpad’s 2014 Year in Review here. According to Nazia Khan, Wattpad’s Director of Communications, the company has noted some interesting trends this year:

  • People are writing novels on their phones
  • Episodic/serial reading is back (Dickens would be so pleased)
  • Everyone is a fan of something as evidenced by the growing number of fanfiction stories
  • Teens are reading. Yes, really.

Turning Writers’ Blocks into Building Blocks, or “What don’t I know?”


blocks__4971835856There is no worse feeling for a fiction writer than coming to a grinding halt in the middle of a story. One day all of your engines are firing, sentence after sentence pours out of you like hot metal, almost faster than you can type – it’s like the characters are alive inside your head and all you need to do is write down what they’re doing. You love the story you are writing and you know that everyone else in the entire world is going to love it, too. You are thinking that at the rate you are going, you’ll be finished by the new year, and rich and famous by next summer (or at least critically acclaimed within the decade).

And then the next day, the magic vanishes. You sit down at your computer as you always do, you start to key in words — but these words don’t fit with the words you wrote yesterday, nor do they even fit with each other very well. So you delete them. You try another sentence. Nope. Nothing good is happening on the screen. You tell yourself that you should ease up on yourself: this isn’t the final draft, it’s just the first one. It doesn’t have to be perfect. But still it isn’t working.

You get up and pace. You lie on your back on your bed or on the floor, and you start feeling nauseated. You go back to the computer, but you find yourself checking Facebook instead of writing. You read the news. You play an online game. Only at the end of the day, do you give up — hoping that tomorrow will return you to your state of authorial grace.

But tomorrow, it’s the same or worse. So you start reading back through what you wrote before you hit the wall — and, horror of horrors — you wonder if that part is any good either.

One day you reach a point where you can’t even bring yourself to open the file where you have saved your story.

What to do?

Some writing gurus will tell you to just keep going. They’ll tell you not to worry about whether what you’re putting down is good or bad… they’ll insist you must simply carry on. “Keep getting your daily quota down on paper,” they say, “and it will all work out.” They will cheerily suggest that you stop the day’s work in the middle of a paragraph so that you can carry on tomorrow … as if you could even write half a paragraph today.

Well, I’ve tried following that advice. As a result, I have printouts of several drafts of a novel called White Work in a box somewhere that, taken together, weigh about 20 lbs. White Work will never be complete because I kept going as advised, and never did find my way out of the mess I was making of it. Everything I did just made it worse. I grew sick and tired of it. Twenty years later, I still can’t look at it.

On other occasions when I’ve hit a wall, I’ve put the project aside, afraid of wrecking it. I’ve decided to wait until inspiration returned. Eventually a couple of those projects went into the fireplace or into my filing cabinet or still languish on my computer, unfinished. When I look at them I have no idea where I was going with them, what made me so keen about them in the first place.

In other words, if you don’t deal with them when they first show up, little blocks can grow into big problems.

Meeting the Block Head-on

I have finally found a solution that works for me when I run into a block, and I hope it works for you as well. It’s not really a solution, I suppose: it’s more of an awareness that you can turn into plan of action.

I have learned that when I find it impossible to move forward on a project, it is because there is something important about the story that I do not know.
Not knowing something erodes my confidence, and when I lack confidence I can’t write. Trying to move forward becomes like trying to walk across a frozen pond when I am not sure whether the ice is solid enough to hold me. My fear of seeing the ice begin to crack, of sinking into the deadly water — of getting trapped beneath the ice — becomes greater than my certainty that I can make it to the other side. I start to slow down, and then I stop. And that’s when I start sinking.

So now, when I find myself grinding to a halt in the middle of a story – as I did recently in my new novel, Seeds and Secrets (which you can watch me writing on Wattpad, one chapter at time, if you are interested) – I ask myself, “What do I not know about this story and its characters that I need to know before I can move on?” (There are lots of things I don’t need to know. I’m not talking about those things.)

“Where have I taken a wrong step?” I ask myself. “How did I get myself out here where the ice is so thin? When is the last time I felt myself on solid ground, and how do I get back there so I can once again move forward strongly?”

Kinds of Missing Information

What I don’t know about my story might be something small. For example, maybe the daughter of my main character was traumatized by the 9-11 coverage, but I’ve just realized that she could not have been traumatized by that event because she wasn’t even born when it occurred. Now I need to change everybody’s age in the whole story, or find the child another trauma.

Or maybe it’s a medium-sized problem. Maybe I haven’t spent enough time thinking about my main character’s best friend. I don’t know why she has turned into such a bitter adult. I realize that I need to spend some time thinking about what led her to become the woman she is now. (I may not actually include this information in my novel, but it’s clear to me that I do need to know it before I can move on.)

Or it might be a really big problem, which is, in my case, what almost always happens when I don’t know how a story is going to turn out. Some writers just keep on writing with no real plot in mind, hoping for the best, and some of those writers get lucky. (Or maybe, as in the case of Marcel Proust and Karl Ove Knausgaard, they just keep writing, and writing, and writing, until they stop.) But most authors, like me, need to know the ending before they can write the middle, or they will come to a grinding halt. (That’s what happened with White Work).

In order overcome a block and move on, sometimes I just need to go back a bit and fix something to make the story feel right again, as in the case of the trauma incident. Sometimes I need to draw a map or a floor plan or a family tree to make sure I’ve got my directions and dates and connections right. And sometimes I have a bigger job ahead of me: I need to figure out and then make notes on the balance of the plot, so I can see where I am going. (In Seeds and Secrets, my most recent problem turned out to be minor: I realized that I had no idea what career my central character had taken up as her employment as an adult: i.e., in the novel’s present tense. I had to decide what career path she’d chosen and how that path logically arose from what had happened to her when she was younger.)

To find missing information in my novel, the last place I want to look is at the novel itself. (That’s where the information is missing from, so why would I look for it there?) Instead, I often find it useful to go for a walk or head to the gym. For some reason, if I deliberately force myself to think about the problem while I’m sweating, the answer usually comes to me. Other times, I take my computer to a coffee shop or a park where I try to shake the solution loose — in my experience, a change of setting is much more likely to create a missing piece than is lying on the bed, staring in panic at the ceiling.

Once I’ve figured out what I don’t know about my novel, and have filled in the necessary cracks in what I’ve already written, I find that the ground again feels solid, and I am able to move forward. The book itself feels better — stronger — when I’ve done this. It’s sort of like turning writers’ blocks into construction materials. And when you know how to do that, you almost start to welcome those blocks when they start to crash down in front of you and bring you to a halt. (Almost.) You realize that if you don’t fix the problem, you are going to sink for sure. But you also begin to trust that you can fix it, given some time and focus, and that when you have –  when you’ve made the ground strong enough again to hold you – the readers who follow after will find it strong as well.


photo credit: turbulentflow via photopin cc

Sell That Book: Building A Promotional Campaign From The Ground Up (I)

Sell That Book: Building A Promotional Campaign From The Ground Up (I)

I Have Been Spurred To Action

A good friend (thanks, Larry Anderson!) recently introduced me to another good friend of his who is also a writer who is in a similar position to the one I am in re: book promotion. Both of us have recently published books, but due to the other demands on our time we have found no time to market them — much less figure out the most effective ways of doing so in this brave new world of publishing, where there are too many options for everything.

Her name is Kathryn Burke and she lives in Edmonton. Her first book, An Accidental Advocate – A Mother’s Journey with Her Exceptional Son, has already been on several non-fiction best seller lists. She is working on her second book now; entitled Preventing Conflict In Special Educationit is likely to enjoy similar attention as it addresses the concerns of innumerable parents, teachers and students. Kathryn, who works part-time as executive director of the Learning Disabilities Association of Alberta, is also the brains behind, a site that was designed “to help people affected by learning disabilities share their experiences.”

For my part, I have three recent projects that are available for sale:

  1. my third novel, The Whole Clove Diet;
  2. the Really Effective Writing suite of MP3 audiocasts – based on the grant-writing book Write An Effective Funding Application: A Guide for Researchers and Scholars – with one series customized for each of three groups: a) researchers and scholars; b) community groups and non-profit organizations; and c) writers and other artists; and
  3. ta-dah!! A new novel, co-authored with my good buddy, the endlessly fascinating lawyer cum writer John A. Aragon of Santa Fe, New Mexico (who is also too busy at the moment to do book promotion). It is entitled The Adventures of Don Valiente And The Apache Canyon Kid and it has been described by the noted Canadian writer of westerns and other fine novels, Fred Stenson, as a “bold and sexy chase from end to end.”

Promotional Challenges (Ones I Suspect Other Authors May Be Facing, Too)

For the most part, aside from subscribers to my blogs (not an insignificant number, but not millions of people either) and my friends and family, and a few others, hardly anyone knows that these products of mine exist. For the past few months–in fact for the majority of the time since The Whole Clove Diet was published and I completed the audiocasts–I have not only become very busy with freelance work, I have also been utterly overwhelmed by the range of possibilities that exist at this time in history the for promotion of books–and other communications products.

What do I do”? Do I attempt a traditional book-promotion strategy involving media releases, bookstore communications, the distribution of review copies with an author promo package? Or do I embrace the new media and devote my attention to Twitter, FaceBook, LinkedIn and other social-media platforms? Do I create a video or two for YouTube?

Maybe I need to consider entirely different tacks – invent a video game based on my grantwriting book for example (just a little joke) or turn The Whole Clove Diet into a reality television series (also a joke). Perhaps I should take a leaf from the late, great book-promotion schemer Jack McClelland and do something outrageous that will bring the media to me: indulge in guerilla marketing, in other words (I am not excluding this idea at all. It appeals to me enormously). Maybe I should just hire a damned publicist (although I’ve heard of too many who have produced disappointing results and I can’t afford it anyway. Besides, I really do enjoy the promotional part of my work.)

In this digital era, the promotional opportunities are endless, but so are the number of new writers out there vying for readers’ attention (and recent stats say that book-readership is going down as fast as the average quality of the writing that is being published. Pretty soon there will be more “writers” than readers).

The only thing that is limited – and it is severely limited – is time. How do I maximize the hours that I do invest in book and audiocast promotion so that I still have time to serve my freelance editing clients and maybe even write another novel? Not to mention hanging out from time to time with my kids, my grandkids, and my fellow.

Despite the fact that the prospects have been so overwhelming that I have done nothing much at all in a focussed way to promote the books and the grant-writing audiocasts I have mentioned, I really do believe in them. And what reviews there have been so far have been excellent. It is time to get serious about this.

Campaign Kickoff

Life has a funny way of helping out when you need something (not, I believe, because of anything magical, but because needing something makes — or should make — you open to recognizing and welcoming opportunities that are really always there). Thanks to this introduction to Kathryn, and our first Skype meeting to compare notes, I am now really eager to get going on this project.

Kathryn and I have  committed to hold Skype meetings one a week and to do something (anything! :) ) in the meantime that we can report on that relates to promoting our books. I am  feeling optimistic. And so is she. Already I’ve attended one webinar entitled “Be Your Own Publicist,” which was hosted by The Writers’ Union of Canada. I’ll provide details on it in my next post. And I have signed up to attend another one next week from the Wildfire Academy entitled How To Become A Bestselling Author, which Kathryn recommended.

Our books have nothing in common, really, but therein lies some of our strength. Kathryn and I are going to be finding out how to approach publicity and promotion in ways that should benefit all writers —- whether thy write fiction, non-fiction or poetry, whether they write literary or commercial books, whether they write for adults or for children. We want to sort the wheat from the chaff — not among books, but among ways of promoting them.

The most important part of this journey is going to be to share it. Not only with one another, but with our fellow writers (including Larry!). Hence this journal of our investigations, our findings, our observations and our conclusions. We welcome readers’ input as well: if a man can crowdsource healing of a brain tumour that the doctors haven’t yet been able to contain, surely Kathryn and I can find some helpful advice from those who have tried promotional ideas I haven’t thought of – or have found widely touted methods to be useless — or have applied traditional promotional methods with new twists. We can all learn together.

Selling your novel: Genre vs. mainstream fiction

I have recently read that, unless their names are well known, writers in future are going to have a lot more trouble selling genre fiction than mainstream fiction, because readers will buy another, cheaper novel in the same genre (which today often means that they will go for a free novel in an ebook giveaway) before they will pay for a novel by an author they haven’t heard of before.

On the other hand, more readers are likely to be looking for genre fiction than mainstream fiction, so you’re at least going to have them checking out your book.

Your thoughts?

Looking for Beta readers for The Whole Clove Diet

Update Jan 4/11: Thanks for your responses! I have now got ten beta readers. Watch for the next posts on The Militant Writer: How to promote your independently published book — an interview with an author whose books are selling like hotcakes!


My third novel (fifth book) is currently being typeset and will be published in about two months. I am looking for ten people who are interested in reading the final version of it in manuscript form and then writing a one-paragraph (or so) review for Amazon once the book is published. It doesn’t matter if you like it or not — you are welcome to be honest. I just want some reviews up there as soon as the book comes out.

In exchange, once the book is published I will sign a copy of the print version (it will also be available as an e-book. It’s is going to have a beautiful cover! I’m so excited!) and mail it to you, all at no cost to you.

If you are interested, please write me at mary @ marywwalters dot com or contact me via this blog.

Here’s info about the book:

As she breaks 200 pounds, and not in a good way, Rita (29) finds herself married to a self-focused widower with two difficult kids and a mother who almost makes Rita’s own mother look like a role model—which is really saying something. Graham’s first wife, being dead, just keeps getting better and better in everyone’s memories while Rita just gets fatter and more aggravated. She’s tried every diet in the book, but it’s not until a family crisis forces her out the door that she figures out that the easiest way to thin is to get rid of the baggage on the inside. Funny and insightful, The Whole Clove Diet is sure to make readers of all shapes and sizes feel better about themselves—and ultimately maybe even about Rita.


In Praise of Revision, or the Four Fails of Trying to Write the Last Draft First

by Mary W. Walters

When I was a new writer, I read a lot about how other writers wrote, and I became deluded into thinking that I could calculate how long it would take me to complete a writing project.

My reasoning went like this: if I wrote 500 words per day, I would be able to complete a short story in about ten days. If I upped the total to 1,000 words per day, I could finish a novel in 60 to 100 days, depending on the length of the novel. Those word goals seemed fairly modest to me, even a bit cushy: hadn’t I just been reading about writers who set themselves to write 5,000 words a day—and did it?

I got out my calculator and started pressing buttons. I reasoned that if I took a weekend off from time to time, and a week or two for vacation every year, I could still complete about a hundred novels and several collections of short stories by the time my 80th birthday rolled around. All I needed was the will power and fortitude to actually get the work done—and I was sure I had those in abundance. (I always feel that way before I start a project.)

It was then that I first faced what have come to think of as the “Four Fails” of trying to write the last draft first.

The first of these Fails occurred when I started my next novel. (It was my third, the first that would be published. My first and second novels had been abandoned part-way through, perhaps because they had failed to write themselves fast enough.)

I set out on the first day to write my 1,000 words, my schedule in hand and my determination firm. But I found I could not think of which 1,000 words to put down first—or, in fact, which one word to put down first. I told myself it was natural to feel this hesitation: with the schedule I’d set myself, a lot relied on the first word. The rest of the story had to ride effortlessly and smoothly on its back.

I dithered for days and weeks, growing increasingly discouraged as hour after hour passed away in fingernail-gnawing page-staring. My discouragement was laced with panic: if I kept dawdling this way, I might get no more than 90 or so books written before I hit my dotage.

By the time I did at last manage to get enough words down to constitute a first page, the second of the Fails kicked in: I found myself revising and revising and revising those first few sentences until the edges were worn off both them and me, and I could barely remember what vision had got me started in the first place. Still, I reassured myself again, if I got the beginning right, I could adhere to my schedule for the rest of the novel. It was only the first few paragraphs and pages that needed to be perfect. I’d loosen up when I got past this initial hurdle.

Fail the Third set in after I’d completed Chapter 1. In Chapter 2, something unexpected happened – Character X became more important than I’d originally envisioned and I had to go back to Chapter 1 and revise it to reflect the increased stature of X in the novel. More new plot developments in Chapter 3 required additional adjustments to Chapters 1 and 2. In Chapter 8, I realized that if there was going to be a smoking gun, I’d need to go way back near the beginning and hang that sucker on the wall. And if Character Y was going to fire said gun, I’d need to go back again and give her some precedent behaviour that would make her delivering the shot believable.

If I ever did write 1,000 new words in one day, the next day I’d end up revising them instead of writing another thousand, which would drop my average to 500 words per day. Two days later I’d be down around 250. Although the writing went more quickly as I neared the end of that novel, by the time the first draft was done, months and months had passed.

Done, but not Done

And still I wasn’t finished with the damned thing. In fact, it was at that point that Fail 4 announced itself as I realized that the final shape and potential of the novel had only really begun to suggest itself when the first full draft was down on paper. Themes had started to emerge that needed to be developed. Certain characters required additional depth and vibrancy. Some scenes went on too long and had to be trimmed; others needed to be expanded.

It was clear that I basically had to go back and rewrite the entire novel from the beginning—jettisoning some of the precious pages (and even whole chapters) over which I had earlier sweated bullets.

That novel took me a couple of years. By the time The Woman Upstairs had been accepted for publication (and, in the meantime, several short stories had been published, too), I figured I had learned enough about writing that the next time, I would be able to do a short story in six days, and a novel in six weeks.

But it didn’t happen that time either. In fact, the next novel that was published took me longer than the first. And the more I learned about what a short story could do if you really pushed yourself and made it the best that it could be, the longer it took me to write one of those as well.

I was growing so discouraged at my track record that I despaired of ever becoming a real writer. The real writers I had read about always seemed to write 1,000 words before breakfast and another 1,000 before lunch. I was proving to be a snail in the marathon of novel-writing. At the rate I was going, I’d probably never get more than a dozen novels written in my lifetime.

Why, I asked myself, did I seem to be incapable of simply letting go of what I wrote? Why did every sentence need to “sound right” to me before I could move on? Why did I need to hear music in each sentence, feel breath in every paragraph and chapter, find a coherent reality in the book as a whole before I could even show it to another person? Once the book was accepted, I’d just have to do more revisions anyway. Time was a-wasting here.

The Light Comes On

It was in finding the answers to my own questions that I began to learn about myself as a writer. In examining how I worked, I realized that I did all the revisions because I liked to do them. In fact, I loved to do them. Revision—getting everything just right, or at least as “right” as I could make it—was much more satisfying, deep and meaningful to me than writing a quick first draft could ever be. Most of the time, in fact, the first-draft part was total hell.

I realized that to me, writing was revision. I realized that for me, the first draft was just throwing down the clay that I’d then work with.

Everything I’ve done ever since has underscored the truth of this realization. I am Mary the Reviser: this is how I work.

Ironically, since I have learned this about myself, I can now get first drafts down as fast as my fingers can move across the keys. I write first drafts quickly now because I no longer worry about them: I know that before anyone else sees them, every sentence is going to be reworked and reworked, and that whole chunks are likely to disappear completely. For me, the important thing about the first-draft stage is just to get the ideas down on paper before I lose them: to make sure the clay I will be working with is at least somewhere close to the right colour and consistency. The form and detail will come later.

Now I know that when I start a novel, it is probably going to be three years before it’s finished, and that a short story will take at least a month—or several, if you count the parts where you need to put it away to let it rise like bread dough before you punch it down again.

By learning that for me, in writing, the pleasure is in the process, I have been freed from the tyranny of numbers and quotas. The end product is just a side benefit. I know that I would rather write one novel that sings (at least to me) from end to end than write 95 that consist of words strung over plots like carelessly tossed sheets on clothes racks. (Which is not to say that I do not strive at times to make my carefully edited text look like I’ve just tossed it.)

There are no fails in my approach to writing now. While there is no denying that to complete a project–whether it’s this blog post, or a novel—is satisfying, and a relief—the joy is in the work itself. The realization that what I love the most is digging has given the words “treasure” and “reward” new meaning.

Subsequent kudos from others and offers of publications become mere affirmations of what I already know: that I have done the best that I can do. I have given my work the respect it deserves. I have worked it until it is done, and I have seen that it is good.