Check Out My New Book!

In April of this year I quit my job to start working in earnest on Sleeping With The Material World, but it’s hard for a writer to stay focused on just one project at a time. In early May, an email appeared in my inbox advertising a $3,000 prize for a story aimed at underachieving readers. Not entirely convinced, I began whimsically writing about the trash-littered alley I remember behind my childhood home. I used to wander through that alley, wondering what kind of secrets might be hidden in the clutter. Fast forward a few months, and, after much writing, re-writing and editing, those scribbles turned into a 10,000-word story called Running The Point. I submitted Running The Point to the contest and – lo and behold – it won the prize!

Running The Point is about Ennie, a 12-year-old with NBA dreams. Ennie chances on a runaway girl after being embarrassed at basketball camp and their budding friendship soon leads Ennie into trouble. As his stern Aunt Lucia and a black coach named Steve-O try to turn his focus back to basketball, it becomes clear that helping a friend in need might also help Ennie overcome his biggest adversary on the court.

Running The Point makes a great Christmas gift for the kid in your life who loves sports but isn’t sure about reading. It’s available as both an ebook and a paperback on Amazon. I have also created a new personal website at www.simonbroder.com with sections on SWTMW, RTP and various other aspects of my writing career.

If you're interested you can learn more about Story Shares here.

Cheers,

Simon

Getting Back On The Horse

Tomorrow will mark one month since my last shift at the restaurant. It’s been a relaxing month, but also a bit of a frustrating one. At first I was happy to have the time to relax, then I came down with a flu, and now I’m starting to feel cabin fever. This whole month has been a lot of lying around the house and not doing a whole lot of anything, and after a while that gets boring. The frustrating thing about being down is that I’m not so unwell that I can’t do anything – but when I do things, I get easily overtired. I can go to the bar, but after one beer I start to feel overstimulated. I can go for a walk, but that doesn’t feel especially productive. I can try to write, but after an hour I feel like I just want to lie down.

Last week, I finally got in to see a physiotherapist and then a psychologist to discuss the best way to go about getting back to normal. The physio in particular said some interesting things about how my brain is working. He described it as a car engine that’s worn down and isn’t getting enough gas. It still gets you where you need, but the performance isn’t optimal – when you slam on the gas pedal, it doesn’t reach top speed. He did some tests on me and concluded that while I’m over the worst of things physically, my brain is still a tick slow when it comes to processing, and the extra energy I’m expending is probably tiring me out.

Although he advised me not to dive back into work, in my boredom I’ve begun to putter around with writing a little bit more once again. I’m still not ready to tell any of my editors I can get back to the grind – or tackle this book project in its entirety – but I’ve at least sent out a few stories again. My thinking is that the best way to ramp up to full speed is to start small, with jobs that don’t have specific deadlines or come with a lot of pressure. When the inevitable rejections come back, I can simply file them away in an email folder and forget about them.

It’s productive, but it’s also disorienting. Sometimes hustling as a writer can feel like swimming in the middle of the ocean and searching for land. You know there’s eventually going to be land in almost any direction, but you have no idea where the closest patch of land is – or the best. There might be a tiny island just out of eyesight on one side, but an entire continent a mile in the opposite direction. Firing off stories and pitches for rejection, I’m casting about searching for my identity. Do I make my name in fiction? Sports? Does writing content anonymously for money help get this book published? (Probably not, but it might keep my bank account full until we can.)

None of the doctors I’ve consulted have told me to rush back to work. They say I need to focus on myself and how to get myself in the best place possible to be functional going forward. I agree in theory, but in practice it’s hard. I find myself growing bored and agitated. I don’t have a lot of discipline. I’m not really supposed to be drinking or playing sports, but I want to go out and shoot hoops and muck it up at the bar – just to do something. I’m understanding more and more those scenes in movies where the cancer patient breaks out of the hospital because, damn the doctor, he just wants to have fun again.

But at the same time, I have to find a way to step back and think about how to get better. I want to be able to write and work for a lot of years going forward. I have to figure out a way to throw all my energy into making this book the best book it can possibly be. And I know that actually focusing on things like diet and exercise is what will get me back to normal sooner. But old habits die hard…

On that note, I’m off to see the physio for a follow-up appointment.

-Simon

When Life Intervenes

About four months ago - it was a few days after Halloween - I slipped trying to change the temperature in the shower. I tried to grab onto the curtain as I fell, but it came down with me, and on the way down my head slammed into the bathroom counter. I didn’t hit my head so hard that I blacked out, but I did hit it fully flush. In the moments afterwards, I immediately thought, “Shit. That’s exactly the kind of innocuous injury that could turn out to have major complications.” My brother and two of my aunts have had significant concussions in the last few years, and it seemed like I was destined to be next on the list. 

After I fell, I felt dazed – not pained, but confused enough that when I sat down to start writing a few minutes later I could tell that something wasn’t right. I went to the doctor, and as the week progressed and I continued to feel discombobulated, I went back to the doctor a week later. She acknowledged that I might have suffered a minor concussion.

Concussion symptoms are weird, and hard to describe to someone who hasn’t gone through them. There was no real pain for me (aside from the very occasional pinch). Mainly there was exhaustion and the feeling of a pounding hole in my head – like my thoughts weren’t completely coherent. That’s not to say I couldn’t formulate sentences or understand things, but rather that there was some kind of a gap in my thought process. I was like a computer that still worked fine in spurts but was incredibly laggy and needed a restart every 2 hours. For about nine days I rested up, mostly avoiding the internet and work. When I did go into work, I wore thick clip-on shades to shut out the industrial lighting at my job, and occasionally earplugs to block out the music, conversation, banging doors and utensils – essentially, all the sounds that inevitably come from working in the kitchen. Once I hit my head, it was like my sensory register was turned up to 11 – all the little sights and sounds that I had spent years learning how to block out were coming at me like they were blaring out of movie theatre speakers.

I basically spent a week in bed with the lights out. About nine or ten days after my initial concussion, I got up and tried to take a walk around the neighbourhood at about 9 in the evening. To my surprise, it went well. I wore the shades to shut out car headlights, but other than that I had no real difficulty handling the sights and sounds that come with being in the city at night. It felt good to finally leave my bedroom and experience the world again. Over the following week, I gradually worked myself up to full speed again. By the end of November I felt essentially normal. I still carried the shades to work, but I didn’t wear them. I could watch basketball games without any concern about aggravating my brain. And most of all, I could write again.

Feeling fully recovered, I started to ramp up my workload. I started writing for a Raptors site. I wrote a number of articles in a row for a clickbait site, in order to get a payout reward for writing so many in such a short span. After that, I began hunting around for more writing work. I was focused on building my resume up, all while working four days a week at my restaurant job. I felt newly refreshed, and I put pressure on myself to try to achieve as much as I possibly could as a writer in the shortest possible time frame. And it worked for a while. I learned how to handle multiple assignments a week. I planned my time around writing. I’ve never been a particularly organized person, but my weekly schedule became more regimented.

But then one day about three weeks ago I got to a Thursday morning (which was my first shift of the week – I work in an industry where Thurs-Sun shifts are the norm). I realized that I was feeling more tired than usual. I turned my girlfriend and said, “I’m exhausted. I think I really need to take it easy this weekend.” She pointed out that if I was serious about taking it easy, I shouldn’t be working. I shrugged the comment off, figuring that doing my best to not overly strain myself that weekend would be sufficient. I could rest on Monday. I got through my four days, but by Sunday I was absolutely burnt out. I was asked to stay a couple of hours extra on Sunday to close the store, and I realized I simply couldn’t do it. My head was getting all muddled up. I was too tired to do anything – even the most basic tasks at work. I started making mistakes on the line – little mistakes, like skipping a burger or missing a modification on an order. The other supervisor agreed to close for me and I left early – still thinking that a bit of rest was all I needed.

I rested for three days, but by Wednesday I knew something was wrong – I couldn’t go into work. So it was back to the doctor, and another week spent resting, almost as if the concussion had returned full force. My head began throbbing in exactly the same way it had when I had my initial concussion – just waves of exhaustion and confusion pouring over me. At one point we ordered food for delivery and the trip from the couch to the front door to collect the food was so exhausting that by the time I got back to the living room I needed to lie down. Staring at a computer screen for longer than 5 minutes was overwhelming. After a week, I still felt messed up, so I returned to the doctor and explained my situation. She agreed that I’d been overdoing it, and simply needed to stop working so hard. In short, she told me that I would need to choose between my writing work and the restaurant job that pays the bills, at least in the short term.

Since that doctor visit, I’m feeling a lot better. I’m starting to watch my basketball games instead of listen to them again. I can check the internet when I need to. I’m no longer curled on the couch with my head in my hands. In other words, I’m functional. But I’m still not normal. I still get home from work at 2 AM and sleep till noon. I still need to take fifteen minutes to relax every few hours. I haven’t watched a single movie in probably a month. Going forward, I’ve scaled back my writing commitments – informing two of the sites that I was writing for that I needed to take an indefinite hiatus. Another site I plan to return to tomorrow, but only with a very reduced workload. If there’s anything I’ve learned from the past few months, it’s that head injuries are nothing to take lightly.

Between Sarah’s baby, and my head injury, the progress on this book certainly isn’t what either of us expected it to be a year ago – or even six months ago. Life comes at you fast. Goals are great, but sometimes real life gets in the way, and between both of our physical situations, I don’t think either of us are in a position to push as hard as we’d like on this book right now. But Sleeping With The Material World is our child and it will persevere even if its parents neglect it. We will get this book finished…eventually.

-Simon

Working The Long Game

I’ve always wanted to write books. At some point in the last few years I came across a scrap paper that I must have filled out when I was about 6 years old. Under the category asking what job I wanted to do, I put something like, “firefighter or author.” I honestly have no idea where I came up with the idea that I wanted to be a firefighter (is that just a universal little kid thing?), but I definitely knew all along that I wanted to be a writer. As a kid, my nose was always buried in a book. Some of them were literary books passed down from my university-educated parents, but a lot of them weren’t. They were Scholastic books, adventurous stories about kids like The Boxcar Children, The Hardy Boys, and later the Animorphs. Basically, it was all serialized fiction which eschewed the literary bent for adventure and simplicity. Later, in university, when I found myself trying to be super-literary, I had to remind myself that my formative years were spent reading a lot of pulp fantasy and mystery, and not the (capital-C) Classics.

My first attempt to write a book came when I was about 10. I wrote about 30 pages of a crime thriller about a little kid and his friend who were somehow tasked with investigating a mysterious accident. It didn’t get very far – at some point I think I realized that I didn’t really have any idea what the kids were going to find, and the story was quickly abandoned. That pattern followed through much of high school, as time and time again I would start a story only to leave it abandoned after a chapter or two. Usually there was some sense that I’d run out of ideas and didn’t know how to drive the story to a sweeping conclusion, but I also had a tendency to agonize over the sections that were already written and either compulsively edit them or just give up, feeling like they exemplified my failure as a writer. I felt incapable of finishing anything. In the end, I would get stuck and move onto a new idea that seemed more tantalizing.

Follow-through is really important in being successful in any aspect of life. One of the first things one of my teachers preached in writing school was to work on finishing things, because history is littered with writers swimming in half-finished manuscripts who never went anywhere. I’ve gotten a bit better at completing projects since university, but not much – I’m still very much a work in progress, and stories without deadlines tend to hang in eternal limbo. It‘s with this history firmly in my mind that in the past few months I’ve been forced to set this project – at least the nitty-gritty work of writing and editing – a little bit to the side. This time, it wasn’t simply out of a loss of interest or feeling stuck. I felt like I was absolutely capable of continuing to work on the book and between Sarah’s original manuscript and my detailed notes, I have a very strong notion on how to complete the book. But I also knew that if we were going to sell this story to editors and publishers, they needed to know that we were capable writers. They needed to know that putting a book in our hands was the responsible thing to do. So I put the manuscript aside and set out to, in so many words, make a name for myself. While I knew that I had to keep my expectations in check and not expect to get big-time gigs immediately, I also knew my portfolio lacked the punch to get noticed in a slush pile and that any decent credentials would be better than what I had. If getting a book published is the end goal, getting a shorter article published in a mid-level magazine is a means to that end. It’s been a moderate success so far. While nothing I’ve written has made me an overnight success, my name is significantly more Googleable than it used to be and I’ve had a few articles that have seen widespread circulation or received some outside praise.

The other day, for the first time in my life, I pitched two major magazines with a story I’ve been independently researching. In response, I received two generally complimentary rejection emails. The first email was from an editor I have worked with before who suggested that the story was interesting, but not newsworthy enough for his publication. The other editor thanked me for the pitch but stated that the story was “not quite right at this time.” In my reading up on how to get published in the magazine industry, I have come under the impression that “not quite right at this time” often means that the story pitched was too big for the writer’s credentials – that it may have been a workable story but not one that an editor was willing to trust in the hands of an unknown. I have no idea if that was the true underpinning of my response note – perhaps there was another reason, or several, why it didn’t fit into their criteria for publication – but it seems like an entirely reasonable read on the situation. The article I was (and still am) hoping to write is a long-form piece, but it’s a long-form piece that might top out at a couple thousand words. Sleeping With The Material World is a long-form piece that will be running 100,000 words – and as such, an editor is going to need that much more faith in the writer handling the project.

Writing is hard. The more research I do, the more articles I come up with that are just disgruntled writers writing about writing, or preachy articles about how to get stuff rejected. More and more, it seems there are more people writing stuff than reading it, which is kind of a sad reality of our modern world. Between writing, working at my full-time job, and having Netflix readily available, I’m almost embarrassed to admit how many books I read these days – and that’s as a writer! I certainly make the effort to always be working on a novel, but there are certainly weeks where I barely read anything offline. But that's not the point. Really, being a productive writer is about pitching and getting work done. Reading is intellectually stimulating and important on various levels, but ultimately unproductive.

Of course, while I’m over here trying to get some smaller work published, the Sleeping With The Material World manuscript sits idly by, not getting nearly as much work or love as it should. Between Sarah’s pregnancy and my writing work elsewhere, along with both of us having full-time jobs to pay the bills, it’s become a little like an older brother who feels neglected because the new baby has everyone’s attention. And honestly, we haven’t had as much time to work on the manuscript in the last few months as we would like. But it’s not abandonment, at least not in the way I used to abandon my stories. It’s about working the long game.

-Simon

What Editors Want

As we continue to push towards getting Sleeping With The Material World published, it’s worth exploring what publishers are looking for. I recently stumbled across this interesting piece from Room editor Rachel Thompson about what an editor is looking for when she’s sifting through a slush pile of submissions. While the article specifically pertains to Room and short story submissions as opposed to long-form, I think it’s worth exploring some of her points, because, ultimately, writing is writing, and catching an editor’s eye is the name of the game.

“Writing that doesn’t begin at a critical moment upon which everything else hinges, or with an opening line that raises more questions than answers, is unlikely to hold my attention for long. You never quite appreciate in media res until you’ve read hundreds of submissions that languish in the beginning. If you’re writing narrative work, and you don’t open with an action or decision point, you’re going to lose me.”

This is an interesting point that I think I inherently understood – I love nothing more than a story that smacks me in the face. Old, dusty books that open with three paragraphs describing a tree in the front yard and the general weather patterns of the region tend to lose my interest pretty quick. Part of this is due to the shift in our culture toward instant gratification as we become an internet-driven culture and shift away from books altogether, but part of it is just that that stuff is…boring. I think that no matter what era I’d been raised in, I wouldn’t have had all that much time for that type of navel-gazing. We read stories to find out what happens. If nothing’s happening, it’s boring.

But while I inherently tend to gravitate towards action, that doesn’t mean that I always succeed in grabbing the reader. Specifically, Thompson highlights the five Ws (who/what/when/where/why). Reading that was like a light bulb going off in my head – because, duh. If the reader starts out by asking those questions, they’re going to keep reading until you’ve got them good and hooked. Once I read that point, I found myself going back over my short fiction pieces that are struggling through that gruelling submission process right now. Did my opening lines do enough to grab the reader and get them asking fundamental questions? Just for fun, here are the openers for four of those short stories:

1. The young boy pulls in fifty bucks during the first week of harvest but there’s more to life than money.
2. I always judge by how they hold their coffees.
3. A couple of days after the party, I spotted Jinay buying smokes at the gas station beside Long and McQuade.
4. The drugstore had a sign out front that bragged it had been open for 57 years but the windows were dusted over and no one had been in the store portion since forever.

Looking back, whether intentionally or not, I think I’ve done a reasonably good job of raising questions off the bat here. My favourite is probably the first one, because it raises a couple of big ones: just how young is this boy, where is he harvesting and exactly what more is there to life than money? The middle two hint at something and make you ask “who” or “what,” but they don’t necessarily raise multiple world-building questions the way that first one does. And the last one is probably the weakest of the lot because it essentially just does the boring description thing that I bashed a couple of paragraphs ago. (Note: I’m trying to analyze my own writing here, so it’s entirely possible that I’m way off base. This is more a moment of self-reflection than real analysis.)

Sleeping With The Material World isn’t a short story, so the parameters are a little bit different – we might have a few pages or a chapter to pull in an editor who has prepared him/herself to read a full-length book. But a grabby opening line certainly wouldn’t hurt. Our current opening line (which is not at all finalized) is as follows:

5. “6000 yen,” the lady behind the counter said. I thought the shirt cost six bucks.

I’d say that line is okay, but not great. We’re definitely wondering why she’s buying a shirt. We have a sense of the what, the where and who (shirt, Tokyo and Sarah). The when is unclear but doesn’t seem vitally important. So on the whole, I think this opening could be improved - if we could really get the reader invested in what’s happening and who Sarah is from the jump, that would be ideal.

While discussing why stories get rejected, Rachel later touches on something that got hammered into us in writing school, but that I still have trouble entirely wrapping my head around:

New writers just don’t have the experience to know how many drafts professional writers go through before publishing. (It’s more than most think, likely by a factor of ten.)

Ten drafts? That’s crazy! I still feel that way – but maybe that offers some insight into why I’ve struggled to get much fiction published. As I’ve grown as a writer, I’ve certainly begun to learn the value of extensive editing and revision, but I can definitively say that I’ve never rewritten the same story ten times from scratch. But when I scratch the surface, I realize there is truth to the notion that a story improves the more you rewrite it. If we take Sarah’s original manuscript as draft 1 and my long-form outline and rewrite as draft 2 and 3, then the revisions quickly begin to pile up. I don’t think there’s any doubt that there will be another full rewrite before the final polished copy reaches the public at large. But whatever the expected final revision number, the most important point to take from this is that there will be a revision number.

Thompson also makes one last point I think is worth considering:

I’m totally over the idea that if my writing doesn’t make it into an issue of a magazine, it means they think my work is no good.

This is both good and bad – good because it means that all oft-rejected writers like me shouldn’t hang their heads too much, but bad because it drives home how hard it can be to really get some great work published. Even if we think Sleeping With the Material World is eminently publishable, finding a publisher that has the exact need for this type of book and the time to work on it is certain to present a major challenge. Fighting through the submission process is half the battle, it seems.

-Simon

New Year's Resolutions - Simon

Happy New Year, readers! (And Merry Christmas as well since we didn’t put a post up last week. We were too busy eating turkey and opening presents!) For today, Sarah and I thought we wouldn’t focus so much on the book, but rather would devote a double-post to discussing our hopes, goals and dreams for 2018. This post discusses Simon's New Year's Resolutions. Here's Sarah's.

***

I took a little bit of a different tack with this exercise than Sarah did. Instead of focusing on improving my internal, personal well-bring, I focused a little more on concrete goals. These are things that I think I can get done this year.

1. I want find a steady writing gig. I currently have this blog which I edit and two other websites I contribute to. One is unpaid and the other pays okay, but not reliably. By the end of this year I would like to find a second reliable paid contract (or, y’know, an actual full-time job would be great!). My goal is to be self-sufficient and have time to work at honing my craft every day, as well as building a profile that allows me to further my writing career, and... 
2. I hope to quit my restaurant job. I have been thinking about quitting my job in the restaurant industry for a while, but I never knew how to support myself enough to actually consider doing it. Just from the writing work I’ve picked up in the last few months, I’ve started to see a light at the end of that tunnel. I certainly haven’t made enough to support myself full-time yet, but I feel like I’m finally in a position to start saving a few pennies for when I’m ready to take that leap.
3. I want to get this book in the hands of a publisher. Sarah’s been working on this book for several years, but this New Year marks the the third calendar year where I’m involved with this project. Even if we’re unable to get this book on shelves by the end of 2018, by the end of the year I’d like to find a publisher who is willing to work with us as we build this book up. My goal is to build a profile and contact list to the point where I can engage with publishers and get this book serious consideration.
4. I want to eat better. I’ve been working in the dregs of the restaurant industry for the last seven years – flipping burgers at low-end fast-casual chains. Scraping things together to make ends meet means I’ve taken full advantage of my employee meals, which is good on my wallet but not so great on my body, since it means eating way too many hamburgers and fries. Since my girlfriend moved in this past year, we’ve been making an effort to cook at home and eat healthy, and I would like to continue moving towards a semi-healthy lifestyle in 2018. (This seems exactly like one of those New Year’s resolutions that everyone has and breaks within a month, but I think with the changes in my lifestyle it’s attainable, especially if/as I move away from the restaurant industry.) 
5. I want to spend more time with friends. One of the consequences of living in another province (British Columbia) for eight years in my 20s and then working nights for the three years since I’ve been back in Toronto is that I’ve lost touch with a lot of old friends. Some of this is just growing up and drifting away from people, some of it is my lack of a social life to begin with, but a lot of it is just being to busy to fit people in. I hope that potentially freeing up my nights from work will allow me to make time for friends on a regular basis - whether it’s hitting the bars once in a while, playing some poker home games, or just being free on weekends to see my friends’ kids.

It really feels like for both Sarah and I, 2018 is a year of growth and new beginnings. Here’s to a healthy, happy, successful New Year!

-Simon

New Year's Resolutions - Sarah

Happy New Year, readers! (And Merry Christmas as well since we didn’t put a post up last week. We were too busy eating turkey and opening presents!) For today, Sarah and I thought we wouldn’t focus so much on the book, but rather would devote a double-post to discussing our hopes, goals and dreams for 2018. This post discusses Sarah's New Year's Resolutions. Here's Simon's.

***

I believe to be whole you need to be spiritually, emotionally, mentally and physically strong. I really slacked in many of these areas in 2017 - in other words, I know what not to do for this coming year. These are my goals for each quadrant of my life in 2018:

1. Spiritually – I want to be able to meditate for at least half an hour everyday. I have been slacking big time. I used to meditate at least a half an hour a day, but I’ve almost completely stopped. I think I was going through some stuff and just forgot about meditating and somewhat turned my back on it during some tough times. But I have to remember that it’s during these tough times that meditation is important. Following through on this resolution will centre me as a person and generally make me a happier person - I know this from experience.
2. Emotionally – I need to embrace my emotions and remember that it’s okay if I want to cry sometimes. It’s needed. And I should be okay with that. This one I know I will naturally do right now since I’m super hormonal - but accepting it rather than fighting it is the key. I should also express if I don’t like how someone is treating me and voice my opinions more often. Sometimes I can be passive to avoid a fight, but sometimes you need to stand up for yourself. (And it feels good to be expressive, of course!)
3. Mentally – I have to make sure to write a half an hour to an hour a day as well as try and read a bit everyday. It will keep my mind sharp and active. In all honesty, my mental state is probably the only thing I have been working on in 2017. I have been going to therapy for about year now and it’s helping so much. It’s nice to talk to someone about how I’m truly feeling and gain perspective on my past as well as why I do things and why things happen. But I think taking care of my mental state also means staying mentally stimulated, which is why I want to do more reading and writing.
4. Physically – I want to step up my workout game. I haven't been working out since I got pregnant. Before it happened, I was working out every week and going to my Jeet Kune Do class 1-2 times a week. Now I’m not with a gym and I have been barely going to class. I have been doing some Aqua Fit classes with other pregnant women but that’s not really too much. I find it hard to work out now since I always feel tired. I plan to go hard for the first few months after giving birth to get back to what I was.

I hope this coming year is better than the last one. I feel like it will be. So much is changing for the better. I’m having a baby, after all! I just try to have faith and trust that things will work out if I try. And that’s what 2018 will be about for me - trying my very best every single day.

-Sarah

So What Is SWTMW Anyway?

Some people who click onto this blog might be confused about what exactly Sleeping With The Material World is. Especially if you don’t know us and you’re simply clicking over from the Facebook or Twitter page, you may not be familiar with the story of the book or what we’re trying to do with it. I mean, it’s pretty clear from the introduction up top that it is a book, but since there’s no widget on the website offering you a copy for sale or linking to it on Amazon, some might find themselves asking how they could obtain said book. And it’s an understandable question.

To be clear: Sleeping With the Material World is an unpublished book. Technically speaking, the final draft is not even completed yet. This page exists to raise awareness about our book project in anticipation of selling it to a publisher. Because as Sarah found out the hard way when she submitted her first draft to several publishers, turning your raw manuscript into a published masterpiece that can be found on Indigo’s shelves is actually pretty damn hard.

I know in the past while exploring the internet I’ve come across certain author webpages that refer to a book that doesn’t appear to actually exist, and it’s frustrating. You feel like if the book was published and all you had to do was click on a link, you would be more than willing to support the artist. But how are you supposed to go about supporting an unpublished author?

Sarah has been working on this book for multiple years and in its first iteration it was mostly just a jumble of stories. Since I came in, I’ve radically restructured the narrative. We now see SWTMW as a creative non-fiction "bildingroman," which is a fancy word for a coming-of-age story. It’s a story about growing up, and while the characters may be zany and all over the place, it’s really about a girl who travelled the world to find herself. SWTMW is laid out into 15 chapters, with each chapter taking place in a different city than the previous one. Many locations pop up multiple times, but some don’t – this is just a tour of Sarah’s world in her years in the modelling industry.

As such, on some level it’s a combination of a travel book and a modelling book, which is a little bit unique. There are a few first-person modelling narratives out there – notably Model: A Memoir by Cheryl Diamond, which I read and quite enjoyed, although I didn’t find that it had much of a narrative resolution – but few have really explored the experience of being a model, being flown in and out of different countries and immersing yourself in a new culture for a few months before being plopped down somewhere else. Our whole book is an adventure, as new opportunities pop up and disappear before Sarah’s eyes.

Sarah brought me in because I went to school for creative writing and I have a much better understanding of the process of writing an engaging, readable book with a story arc, but that doesn’t mean I have an in to the industry itself. The key right now is finding a baseline for our pitch that will make what we think can be an excellent book into something that is worth investing in for a significant publisher. So in a way, our goal right now is to brand the book as something that is worth reading. Part of that is demonstrating what’s enticing about this particular story, part of it is showing that we have the ability to write for a large audience, and part of it is finding that audience ahead of time.

Because of the way the industry is today, with the rise of the internet and Kindle and the focus on bestsellers and literary fiction, it’s very important for us to find our audience before we even sell the book itself. When I came into this process over a year ago, as I mentioned, I had the know-how, but I didn’t have much in the way of actual credentials aside from a few isolated articles. Since then, I’ve had my first short fiction piece accepted for publication in a literary journal (scheduled for March of next year) and landed regular gigs writing for TheRichest.com and RaptorsRapture.com. That’s a start, but it’s certainly not going to wow any publishers. Neither of us are going to get in the door because of our resumes alone, so in order to get this book finished and produced, we need to find out who is going to read it. This blog is a part of that process.

In addition, we’d love to explore any other networking opportunities that the internet has to offer – be it guest posts, podcasts, or the like. Most of all, we would love for you to subscribe to this blog (there's a big box on the right-hand side!), and then give our Twitter and our Facebook a follow. And then, maybe even more importantly, share it with all of your closest friends! This might seem like shameless advertising, and to be honest, it totally is.

But we hope you want to see this book get made as much as we do.

-Simon

Personal Essay: What Women Are Today

I’ve been wondering about my role as a female in the modern world. As a woman, I always feel the need to make people see me as just as strong as men. I'm small, but I'm much stronger than I look. My brother always makes jokes about how I’m “muscles Magee,” because I will always pick something up and carry it even if it looks huge for my small stature. My mother is the same way, and these days I have to tell her not to pick up heavy stuff, that she’s getting too old to do that kind of thing. Society expects men to be strong physically and they are told that they shouldn’t cry or show emotions. I don’t agree with that, but on some level I have always tried to emulate that. So I don’t really cry and I hate when women lose their cool and get all emotional. But why do I react like this? I know I shouldn't feel that way. Some people are more emotional than others, and it has nothing to do with gender. Besides, women’s emotions, compassion and intuition are some of the strengths that make us great.

I grew up playing with the guys because they were always doing fun things while the girls would walk around, play with dolls, talk about people and follow around the boys. I didn’t want to follow around anyone. I have always tried to be independent. After I hit puberty and realized I liked guys more than girls, I began moulding myself to be more attractive to the other sex. I thought that was what I was supposed to do - be more appealing to the other sex because they were “stronger.” But when I ask myself how I came up with that strategy, I realize that I wasn’t born thinking that way. I was taught. My father, who definitely believes that men are stronger than women, is a fervent believer that a women needs to be walked home by a man to be safe. He is a lovely man but those are his beliefs, and when I think about it I realize it’s not really his fault - it’s just how he was raised. My mother, on the other hand, was a mess while I was growing up. She was so emotional and a lot of it was because of all the things she had been through as a female. I saw this dichotomy close up and made a choice that I would not be a feminine moody “girly girl.” And although now I embrace and am open to every aspect of myself, including the girly aspect, I understand why I pushed against that. I’ve noticed that if I “pretty” myself up most people, even women (most of the time), are nicer to me, whereas if I’m just in sweats with no makeup people pay no attention to me and aren't as willing to help or be nice. Don’t get me wrong - I know I am privileged. I’m white, born in Canada and visually symmetrical. So it’s easy to play the pretty card. But what I want to know is why we’ve been raised in this way. Is it something that women are taught or is it something ingrained?

I did some research into the subject. The United Nations latest Human Development Report showed women are 8% less well off than men overall. This is a blanket figure which covers subjects like education achievement, life expectancy, and income.  While that overall difference actually isn’t quite as bad as I thought it was, there are places throughout the world where gross sexism is still rampant. In South Asia, for example, there is a 17% gap between the sexes. In all, out of 148 countries, only 16 don’t follow the general trend. Those sixteen give me some hope. The report stated that generally when countries do well women do well. In countries that the UN calls the “high human development group,” there is only a 3% gender gap. But then in countries that are deemed “low human development” there is a 17% gap. Afghanistan scores the worst at 60% while Sweden and Iceland consistently rate at the top. High-income countries in Northern Europe typically score highest for gender equality. So, generally speaking, Western women are doing better than non-Western women, which isn't a huge surprise.

But then I looked into the subject historically. I know I can’t really comment on how things were way back when, but I figured someone had studied it. I read an article called “Early men and women were equal” where an anthropologist named Mark Dyble and his coauthors say the latest findings suggest that equality between the sexes may have been a survival advantage and played an important role in shaping human society and evolution. The authors argue that sexual equality may have proved an evolutionary advantage for early human societies, as it would have fostered wider-ranging social networks and closer cooperation between unrelated individuals. “It gives you a far more expansive social network with a wider choice of mates, so inbreeding would be less of an issue,” says Dyble. “And you come into contact with more people and you can share innovations, which is something that humans do par excellence.”

So if in the past women were just as powerful as men…then why are we held back today? Is it because we are by nature more peaceful than men? More in tune with ourselves? More graceful? Because some men are bigger than women physically?  Maybe because we like to nest? All those statements have a ring of truth to them, but they’re all generalisations. There are exceptions to every one of them. Men can be all those things as well. Now there are men who become women and women who become men. So what does gender matter? The LGBTQ community believes that we are all equal no matter what we are attracted to or whether we identify as female, male or both. That to me in wonderful! If you ask any transgender person, they will tell you that equality is important to them. But I still feel like I’m made to feel less than adequate compared to males. And I have always hated that. Where did we go wrong as a sex? It feels like since the beginning of time women have been bogged down. Why do we let it happen?

At this point I refuse to imprisoned by stereotypes and statements that women and men should be this way or that way. I believe we should all enjoy our lives and have equal rights. We should be allowed to enjoy this life that was given to us and know that it’s enough. Every individual brings something lovely and necessary to the table, and I wish as a species we could learn to embrace those differences. I will always fight to have equal rights and stand up for the people who need a voice because I believe that one day we will realize that truth.

-Sarah

The Writing Process

This is Sarah’s book, and Sarah’s story, but as her co-writer I would like to pull back the curtain a little bit on our book and into the writing process. Turning a book from a dream into a reality is a long, hard process. When Sarah came to me, she had a completed first draft of her story, but it lacked structure. The characters and plotlines were all over the place, coming and going haphazardly, and while that fit in with the chaotic nature of the life reflected in those pages, it didn’t make for a compelling book yet. Whether we know it or not, we’ve all been raised on narrative structure – whether you’re reading a book, watching an Oscar-nominated movie, or binge-watching a sitcom on Netflix, there are certain expectations that a story needs to fulfill in order to feel complete.

Take Mean Girls as an example. Essentially, we expect an inciting incident (Cady gets put into regular school), rising action (Cady going from being an associate of the Plastics to gradually becoming entrenched in their club), conflict and climax (Regina finding out about Cady’s treachery and trying to bring her down, leading to the gymnasium scene where Regina gets ridiculed by the whole school and getting hit by a bus) and resolution (Cady coming to terms with herself). These tropes can take many different forms in many different films or books, but usually if you scratch beneath the surface of a well-told story you will uncover them.

In our story [SPOILER ALERT], Sarah’s inciting incident is going overseas to model for the first time – a change which opens all sorts of possibilities. The rising action occurs as she spends more and more time in Asia, losing touch a little bit with her life back home as she falls into a world of boys and jobs and tries to make it in the industry. The conflict comes as she oscillates between two men in different countries and her career begins to sputter, climaxing as she finally moves on from the man of her dreams and runs out on her agency to go join a car rally. The resolution is when she comes back to Canada to find herself again.

Even though we plan to market this book as creative non-fiction, it was important to me not to manufacture any of the above pieces of the puzzle. A true-to-life story will almost by nature not adhere as rigorously to the classic narrative structure, but it’s important to find these narratives as they exist in our lives. Sarah’s book appealed to me because I felt that the story that was hiding out in her original manuscript was one that could work beautifully if told right. All the ingredients to an exciting story were already in place – we had the ever-changing landscape of a story that takes place in at least five different countries. Just in boyfriends alone we had a wide cast of characters – from Japanese surfer dudes to sweet-talkers to sketchy club-owners to gay pretty-boys. We had a world which not many people have seen in close-up – a modelling scene outside of the hubs of Milan, New York and London. And we had the spectre of Sarah’s modelling career looming over the whole thing, a pipe dream which transformed into a reality that was everything she had hoped it would be, until it wasn’t.

I put these structures into place for our second draft, which was really more like a really long outline, and our third draft is where the pieces really begin to click into a fully realized story. Each chapter takes place in a different city from the previous one, and each chapter builds up the story in a slightly different way so that the action is always moving forward and never stalling. Currently, this third draft is incomplete, but it is our plan to complete it once we have found a platform for this story.  

Thanks for reading!

-Simon