Writing last week’s blog about my lifelong obsession with all things horse brought up a pile of old memories of my equine friends through the years. It inspired me to turn this into a series that I’m calling “To All The Steeds I’ve Loved Before” (cue the Julio and Willie duet). Continue reading
Since I was twelve, it’s been horses, like the home plate of my life. I often said in my twenties, and even into my thirties, that horses were my rock, the place I returned to, the constant in an ever-shifting landscape of homes, jobs, and relationships.
They say you shouldn’t judge a book by its cover. There’s some truth to this and, as a general rule, it’s good practice to not judge the worth or value of something by its outward appearance alone. But, English idiom aside, the cover of a book should match what’s inside, give you a glimpse of the story or the information contained in the pages. A good cover will draw a person to a book they’ll enjoy. A poor cover will mislead or be overlooked altogether. So, you see, for an indie author, choosing the cover art is a monumental task.
I’d never heard of Garth Stein or The Art of Racing in the Rain when I spotted a copy on a table in Vernon’s Bookland, and I don’t normally buy books without some kind of recommendation, but I was irresistibly drawn to the cover (that’s Enzo with the goggles and scarf). I bought it, loved the story and the writing, laughed out loud on numerous occasions, shed some tears, and was permanently touched by Enzo’s story, all thanks to a good cover. Continue reading
I’ll be the first to admit that of the 19,000-plus sunrises in my lifetime, I’ve witnessed a relatively small number. You see, even though sunrise is a magical event, it comes at a rather inconvenient time of day. Back in my 9 to 5 career days, I was likely driving to work, at the gym, or already in the office at sunrise. In summer, when the sun comes up hyper-early in Canada, I’m probably still sleeping when the sun makes its appearance. I love a sunrise, but I’m not a true sunrise junkie.
The plan for my novel, House of the Blue Sea, was that it be set in Spain. Problem was, I`d never been to Spain and, at the time I was starting on the initial draft, I couldn’t see how I’d be visiting there anytime in the near future. I had a dilemma. Then, one day, driving home from another inspiring writing class with Rona Altrows, it came to me … Mexico! It had the elements I was looking for in a location: warm during Canadian winter, oceanside, exotic, Spanish-speaking, romantic, and I’d been to Mexico–twice! On top of that, it lent itself to an interesting addition to my main character’s backstory … she doesn`t fly.
Ever since she’d written a report on the Mediterranean in junior high, Sandra had wanted to visit Spain, but when she swore off flying in her early twenties, she gave up the idea of travel to Europe, unless she wanted to drive across North America and take a boat over the Atlantic.
Merriam-Webster says that home is, quite simply, “one’s place of residence”. But, it also says that it is “a place of origin” or “a familiar or usual setting”. By these definitions, we each have more than one home. For me, there’s the place I reside, 20 acres on the Alberta prairie, and there’s the place I come from, the Peace Country of northeastern British Columbia. The third definition, “a familiar or usual setting” opens the door pretty wide.
As far back as I can remember, I’ve been going to Frieda’s place. Frieda is my aunt, my mother’s older sister by eight years, and Frieda has always been a part of my life.
When I was a child, many summers we travelled to Frieda’s in Kamloops, BC from our home in Charlie Lake in the northeast corner of the province. My mother at the wheel, we’d make the trek in two days, stopping to camp somewhere along the way in whatever unit we had that year, a tent (or two), a small trailer, and there were varying configurations of the family unit depending on which of my older brothers were not yet old enough to avoid family holidays like the plague. Continue reading
In November of 2014, I flew to Los Cabos and spent nine days exploring the southeast corner of the Baja Peninsula researching the location for my novel House of the Blue Sea. Below is the fifth and final segment of the what I learned list:
Take time to smell the flowers! And any other aromatic items in your setting.
In November of 2014, I flew to Los Cabos and spent nine days exploring the southeast corner of the Baja Peninsula researching the location for my novel House of the Blue Sea. Here’s part four of what I learned:
Keep a little space in your luggage for that thing you just have to take home. Is a hat, a mug, a stone or some other item key to your story or your inspiration? In my case, it was a small piece of heart-shaped coral, just a little keepsake of the Baja beach, until it turned into part of my cover art. Continue reading
In November of 2014, I flew to Los Cabos and spent nine days exploring the southeast corner of the Baja Peninsula researching the location for my novel House of the Blue Sea. Here’s part three of what I learned:
Check out the local architecture. You don’t have to travel very far to find people living and working in structures much different from what you’re familiar with. Take note of what buildings are constructed of, their size, shape, colours and style. Continue reading