Chelene Knight’s Breathing Space Creative is a service-based consultancy that helps publishers, festival organizers, and other literary organizations to better support the needs of their authors.
Wayne Arthurson writes about how in Indigenous crime fiction, a.k.a. Native American mystery, most of the novelists who reap the benefits aren’t Indigenous.
In honouring Clifford, I wanted to emphasize his brilliance, his philosophy, and his refusal to accept dogma.
Dionne Brand, one of the country’s most respected and beloved writers, returns this fall with two books: The Blue Clerk and Theory.
Sarah Weinman was all of 16 years old the first time she read Lolita.
Do you live in a major urban centre? Take this short test. You are giving a reading from your latest book at your local bookstore, and you invite a friend who lives an hour’s travel away. If your friend says instantly, “Awesome, I’ll be there,” chances are you live in a Big City. If your friend says, “What? Come all that way? On the highway?” then you probably live in a smaller city or town and belong to a group I call “out-of-line” artists.
At the inaugural Crime Writing on Pender weekend workshop, running Oct. 12 – 14, up to 12 strangers will gather on B.C.’s Pender Island in a secluded inn built atop a 200-foot cliff, where Arthur Ellis Award–winning crime writer William Deverall will coach them in plotting sinister (fictional) deeds.
Writer and illustrator Andrea Dorfman ends Flawed, her story of overcoming adolescent awkwardness, with a photo of herself at age 14. “With the wisdom of an older person looking back, I look at that picture now and I just love that girl so much,” Dorfman, 49, says. “As we get older we realize these differences that make us stand out are what make us unique.”
When Nimbus Publishing asked freelance writer Sarah Sawler to co-author a book with YouTube star Frankie MacDonald, they had no idea what the book would look like.