Category Archives: Writing

Times are a’changin

I had a funny conversation with my friend Peter a couple weeks ago. He was asking about bringing his nine-year-old daughter to the book launch.

“Of course, bring her,” I said. “But don’t let her read the book.”

“Why? What’s in it?” he asked.

“Sex. Alcohol. Incidental drug use.”

“Oh,” he said. “But isn’t it for teens?”

“Yes.”

That’s all I said. “Yes.” I might have smiled. But I resisted saying, “Yes, Peter, and in just four short years, you’re going to have a teen, and she’s going to be thinking about all those things.”

But it’s really not Peter’s fault. Young adult novels have changed dramatically since the time when we were in high school, when even the grittiest books were about a single issue — girl faces anorexia, girl faces teen pregnancy, girl faces first sexual encounter — all wrapped up with a pink happy-ending bow.

YA novels today encompass every social controversy and personal issue you can imagine, often tangled up together. That’s why they’re so much fun to read.

The first of this species that I read was True Confessions of a Heartless Girl by Martha Brooks, published in 2003. The knowledge that you were now allowed to put stuff like that into a teen novel made me think that maybe, someday, I’d like to write one.

Benefits package

I heard about a CIBC study on the radio. It seems that engineering graduates make 117% more than high school graduates, but fine arts grads make 12% less.

TWELVE PERCENT LESS?!?

I know I haven’t chosen the most lucrative profession in the world, and I suppose I could have figured out for myself that working full-time at Blenz would earn me more, but this, CIBC, is rubbing salt in the wound.

More than that, I makes me wonder if I’m doing the right thing when I praise my kids’ story-writing efforts. Should I be hiding their notebooks and doubling their math homework?

I’ve been stewing over this for weeks. At first I told myself that people in the arts are happier people, so their earning potential doesn’t matter. But I’m not sure that’s true, either. I’m a happy person. But every artist? Every writer? Hmmm….

More recently, I’ve decided that writers and artists, if not happier, are at least more free. Free to work when and how we want. Free to share our ideas (unlike scientists working for, say, the Canadian government). Free to dither over random radio news for days.

And if my kids end up eking out a wage in the arts, I’ll be proud. If they’re working for Enbridge… not so much.

Inside scoop

I had lunch with my friend Rachel yesterday, and may or may not have spent an hour talking entirely about myself. At one point, Rachel asked if Anywhere But Here was at all autobiographical. The short answer is no, but there are definitely a few scenes with real-life origins. And the more I started thinking about it, the more I saw connections.

*** SPOILER ALERT *** If you’re planning to read Anywhere But Here (and I hope you will), you should skip this post until you’ve turned the final pages!

Okay, here goes…

When I was in high school in Creston, it had the highest rate of teen pregnancy in B.C. (Googling more recent rates gave me Cranbrook and Bountiful as the leaders, and both communities are right next door to Creston.) So, I knew a few girls with babies. I also knew someone who hid a pregnancy for seven months. (My character originally hid her pregnancy for seven months, but the editor thought this was unrealistic and it became five. Which proves the life-is-stranger-than-fiction adage.) I know no details about the real-life hidden pregnancy, which is really the best possible scenario for a writer — it left me free to imagine the surrounding events.

The chainsaw scene really happened, and I watched from the kitchen window as the blade drew closer to my dad’s leg. Thankfully, my dad made no revelations about girlfriends or progeny after the event.

I believe the term sit-in-a-ditch-night was coined by my high-school friend Suzanne.

I blatantly stole the alien conversation from my husband and his friends.

The first scenes with the high-school counsellor were inspired by real events, but my character quickly evolved, something you can read more about here.

There is a bandstand in Lister (Nester). That’s all I’m saying about that.

There is a log book in a cairn at the top of Mount Salmo (Sando), and it contains an entry about the first topless accent of the mountain. But not an entry by me!

I once fell in a tree-well while snowshoeing. My boyfriend and I were having a fairly major argument, and he left me there and kept walking. We broke up that night, which happened to be New Year’s Eve. So, a different scene than Cole’s tree-well scene, but, you know, same snow.

There you have it: the strange and wonderful ways of the subconscious!

It’s going

I had coffee last week with my friend Liisa, a teacher with one of the coolest jobs I know as a coordinator for the Poetry in Voice recitation competitions. We talked about a friend of hers who has a book in flux, and about the dangers of “how’s your writing going?”

It’s a tricky question. Ask at the wrong time and you might have a blubbering writer on your shoulder.

It’s also an impossible question. Because unless a writer has just sold her latest work to a major publisher in a six-figure, six-book deal, the answer is never going to be “fantastic!” And realistically, even if she did just sign a major deal, she’s probably already stressing over books two and three.

I wrote a thousand words or so yesterday. A decent writing day. But I’d hesitate to say my writing was going well because the work I did may or may not get included in a finished manuscript. It may prove hopelessly tangential, or disgustingly self-reverential, or simply unnecessary upon revision. Or, saying it’s good might give me delusions of granduer and leave me unable to write a thing for the next 30 days.

It’s all a bit silly, I know. But the core problems with “how is your writing going” are these:

1. Writers are hopelessly superstitious,

2. Writers are often trying, unsuccessfully, not to analyze their work… not yet; and,

3. Writers are never satisfied.

If I ever meet Margaret Atwood or Michael Ondaatje, I’ll ask how their writing’s going. Maybe they know the secret. But I’m guessing they’ll choose some variation of what we all say:

“Oh… it’s going.”

Happy Halloween!

I ran into a Scottish friend yesterday and she told me that pumpkin carving has reached Scotland. Until now, apparently, people there have been carving turnips.

“Turnips?” I said.

“Yes. It’s really hard to get your spoon in, though. They take days to hollow out.”

I thought she must be joking, but Google says: turnips. And check out this traditional Irish jack-o’-lantern from Wikipedia. Yikes!

170px-Traditional_Irish_halloween_Jack-o'-lantern

On a less scary note, here are my three favourite costumes of the year. These have been making their internet rounds.

The senior citizen:
hallow1

I tried to convince my sister and brother-in-law (both RCMP) to choose this one for their new baby, but no luck:
HalloweenBiker-Baby

And this has got to be the year’s best:

Happy trick-or-treating tonight!

Kind words

I am trying to stop talking about myself, myself, and myself. I really am. But I’m just so pleased to have read these two reviews of Anywhere But Here.

After waiting for months for the book to come out, worrying the whole time about what readers will think of it, it’s such a wonderful feeling (and a relief!) to see that people understand what I was trying to say.

Here’s the Booklist review:

After dating his beautiful girlfriend, Lauren, for two years, Cole has abruptly broken up with her. Despite the long hours when she sat by his side while his mother died, Cole now finds her presence suffocating. In fact, Cole feels that he is constantly suffocating in his tiny hometown, known affectionately to locals as “the Web.” His plan is to escape through film school, and the admission process requires a submission of his work. In an intuitive flash, Cole decides to create a documentary about the Web, but he uncovers secrets that only deepen his entanglement with the town. Kyi’s first-person narration feels organic as Cole grudgingly reveals background information as needed, and secondary characters are distorted by Cole’s grief, reflecting the exhaustion Cole feels when he tries to engage with others. Readers will easily feel Cole’s difficulty with being present. Like Daisy Whitney’s When You Were Here (2013), Kyi’s novel presents a heart-wrenching, realistic depiction of a son grieving the loss of his mother. Grades 9-12.
–Diane Colson

And here is part of what Quill & Quire had to say:

Kyi demonstrates a certain amount of bravery in her treatment of the characters and their stories: Cole isn’t always as likeable as he thinks he is – in fact, he’s a bit of a jerk – and the other characters are vividly, humanly flawed. The author allows her characters room to make bad decisions and doesn’t flinch from dramatizing the consequences. The novel’s relatability twists inside the reader.

Diane Colson (Booklist) and Robert J. Wiersema (Quill & Quire), these are for you:

chocolate-chip-cookies-free-clip-art

Audiovisual angst

My husband bought a new TV.

For some people, this might be a simple procedure. But not when you live with an audiophile. When we first moved in together, I agreed to cut down by one bookshelf if Min would cut down by one stereo system. Because he had THREE. In an APARTMENT!

For the last two days, there have been wires all over my house. There have been friends threading wires, electricians slicing holes, other electricians fishing wires through the crawlspace. My six-year-old son was even enlisted to blow-dry paint. I made two complete dinners Tuesday night to feed different shifts of helpers.

One room is now finally back together. (With a new TV that looks exactly the same to me.) The other room (which is inheriting the old TV) still looks like a bomb went off.

And through this whole process, I’ve been thinking about a Jane Urquhart interview I heard on CBC’s The Next Chapter last summer. She said her greatest fear was the loss of privacy. She talked about needing, and treasuring, times of silence and solitude.

She should be very scared of TV replacement.

I am. And if anyone needs me, I’ll be at the coffee shop.