Crossing into the Ecotone to Write Meaningful Eco-Fiction

 “If you have an apple and I have an apple and we exchange apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas.”—George Bernard Shaw

At Calgary’s When Words Collide this past August, I moderated a panel on Eco-Fiction with publisher/writer Hayden Trenholm, and writers Michael J. Martineck, Sarah Kades, and Susan Forest. The panel was well attended; panelists and audience discussed and argued what eco-fiction was, its role in literature and storytelling generally, and even some of the risks of identifying a work as eco-fiction.

Someone in the audience brought up the notion that “awareness-guided perception” may suggest an increase of ecological awareness in literature when it is more that readers are just noticing what was always there. Authors agreed and pointed out that environmental fiction has been written for years and it is only now—partly with the genesis of the term eco-fiction—that the “character” and significance of environment is being acknowledged beyond its metaphor; for its actual value. It may also be that the metaphoric symbols of environment in certain classics are being “retooled” through our current awareness much in the same way that Aldous Huxley’s Brave New World or George Orwell’s Nineteen Eighty Four are being re-interpreted—and newly appreciated— in today’s world of pervasive surveillance and bio-engineering.

I would submit that if we are noticing it more, we are also writing it more. Artists are cultural leaders and reporters, after all. I shared my own experience in the science fiction classes I teach at UofT and George Brown College, in which I have noted a trend of increasing “eco-fiction” in the works in progress that students are bringing in to workshop in class. Students were not aware that they were writing eco-fiction, but they were indeed writing it.

I started branding my writing as eco-fiction a few years ago. Prior to that—even though my stories were strongly driven by an ecological premise and strong environmental setting—I described them as science fiction and many as technological thrillers. Environment’s role remained subtle and—at times—insidious. Climate change. Water shortage. Environmental disease. A city’s collapse. War. I’ve used these as backdrops to explore relationships, values (such as honour and loyalty), philosophies, moralities, ethics, and agencies of action. The stuff of storytelling.

Environment, and ecological characteristics were less “theme” than “character,” with which the protagonist and major characters related in important ways.

Just as Bong Joon-Ho’s 2014 science fiction movie Snowpiercer wasn’t so much about climate change as it was about exploring class struggle, the capitalist decadence of entitlement, disrespect and prejudice through the premise of climate catastrophe. Though, one could argue that these form a closed loop of cause and effect (and responsibility).

The self-contained closed ecosystem of the Snowpiercer train is maintained by an ordered social system, imposed by a stony militia. Those at the front of the train enjoy privileges and luxurious living conditions, though most drown in a debauched drug stupor; those at the back live on next to nothing and must resort to savage means to survive. Revolution brews from the back, lead by Curtis Everett (Chris Evans), a man whose two intact arms suggest he hasn’t done his part to serve the community yet.

Minister Mason (Tilda Swinton), an imperious yet simpering figure who serves the ruling class without quite being part of it, reminds the lower class that: 

“We must all of us on this train of life remain in our allotted station. We must each of us occupy our preordained particular position. Would you wear a shoe on your head? Of course you wouldn’t wear a shoe on your head. A shoe doesn’t belong on your head. A shoe belongs on your foot. A hat belongs on your head. I am a hat. You are a shoe. I belong on the head. You belong on the foot. Yes? So it is.  In the beginning, order was prescribed by your ticket: First Class, Economy, and freeloaders like you…Now, as in the beginning, I belong to the front. You belong to the tail. When the foot seeks the place of the head, the sacred line is crossed. Know your place. Keep your place. Be a shoe.”

Ecotones are places where “lines are crossed,” where barriers are breached, where “words collide” and new opportunities arise. Sometimes from calamity. Sometimes from tragedy. Sometimes from serendipity.

When environment shapes a story as archetype—hero, victim, trickster, shadow or shape shifter—we get strong eco-fiction. Good eco-fiction, like any good story, explores the choices we make and the consequences of those choices. Good eco-fiction ventures into the ecotone of overlap, collision, exchange and ultimate change.

In my latest book Water Is… I define an ecotone as the transition zone between two overlapping systems. It is essentially where two communities exchange information and integrate. Ecotones typically support varied and rich communities, representing a boiling pot of two colliding worlds. An estuary—where fresh water meets salt water. The edge of a forest with a meadow. The shoreline of a lake or pond.

For me, this is a fitting metaphor for life, given that the big choices we must face usually involve a collision of ideas, beliefs, lifestyles or worldviews: these often prove to enrich our lives the most for having gone through them. Evolution (any significant change) doesn’t happen within a stable system; adaptation and growth occur only when stable systems come together, disturb the equilibrium, and create opportunity. Good social examples include a close friendship or a marriage in which the process of “I” and “you” becomes a dynamic “we” (the ecotone) through exchange and reciprocation. Another version of Bernard Shaw’s quote, above, by the Missouri Pacific Agriculture Development Bulletin reads: “You have an idea. I have an idea. We swap. Now, you have two ideas and so do I. Both are richer. What you gave you have. What you got I did not lose. This is cooperation.” This is ecotone.

I think we are seeing more eco-fiction out there because ecosystems, ecology and environment are becoming more integral to story: as characters in their own right. I think we are seeing more eco-fiction out there because we are ready to see it. Just as quantum physics emerged when it did and not sooner, an idea—a thought—crystalizes when we are ready for it.

Don’t stay a shoe … go find an ecotone. Then write about it.


Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

Colliding at When Words Collide

I just returned from Calgary’s premiere-quality writer’s festival: When Words Collide, this year in the Carriage House Inn August 9-11. It’s just the third year of the con and the first year I’ve participated. Organizers describe the conference as “a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, children’s books, and poetry.”

I bumped into the Chairman, Randy McCharles, who shared with me that this literary

Randy McCharles, Chair of WWC

conference, originally modelled after science fiction conventions, was conceived as a festival that doesn’t take itself too seriously. Which is part of its unique charm and success. This unassuming convention provides a friendly and accessible platform for professional writers, editors, novice writers and readers wishing to engage, learn and share. The festival provided over 190 hours of programming for readers, writers and publishers of all genres including science fiction and fantasy, mystery, non-fiction, screenwriting and poetry.

I’m not surprised that When Words Collide is growing in leaps and bounds with each passing year. For two years in a row this festival was nominated for the Aurora Award, Canada’s premiere award for excellence in literature of the fantastic. 2013 special guests included Patricia Briggs, Michaal Cassutt, David B. Coe and D.B, Jackson, Barbara Fradkin, Shirlee Smith Matheson and Jamis Paulson, Penguin Canada Editor Adrienne Kerr, Robert J. Sawyer, & Publisher Brian Hades of Edge Books and so many more cool literary folk.

Programming scheduled me to participate in eight super cool panels, two workshops, a reading, autograph session, and Blue-Pencil Café. That didn’t stop me from bumping into old friends in the Peanuts Sports Pub or while loitering in the spacious lobby.

Panels that I participated in spanned a wide

and topical range of subjects and issues Germaine to writers: anything from the burgeoning field of auditory books (where I shared my experience with Iambik's audiobooks of my Splintered Universe Trilogy), to topics like “Transhumanism”, “The Alien as Metaphor”, “Making the Everyday Fantastic”, “What Women Write”, to racism, sexism and homophobia in genre fiction—expertly moderated by Peter Halasz. Being a writing coach, I also participated in an editing panel moderated by Brian Hades, publisher of Edge Books, who received a call from a mystery guest during panel deliberations. I read from my newly released Natural Selection, a collection of short stories themed on the co-evolution of humanity with Nature and technology.

My two workshops “The Hero’s Journey” and “Self Editing” were well-attended and caused a small flurry over my writing guidebook The FictionWriter, which sold out right after my first workshop at The Sentry Box and the IFWA table, who were also selling my books.

My last activity was the Blue-Pencil Café, a one-on-one feedback coaching session for writers with a WIP. I enjoyed working with new writers on their interesting and imaginative writing projects.

Nina clutching the last copy of The Fiction Writer

This writer’s festival is possibly the best writer's event I have had the pleasure to attend. It’s sophisticated but not pretentious; it’s diverse but not too chaotic (embracing the singularity of stable chaos and “strange attractors”); it’s edifying but not stuffy; it’s international but still down-home; and it’s loads of fun. If you are a serious writer wishing to hone your craft, find a great writing community, and share experiences and your passion for words, this is a very cool place to do it.

Mark your calendar for WWC 2014 and think of “colliding”.

Rick and Di and special guest

The Fourth Annual Edition of When Words Collide will be August 8-10, 2014 at The Carriage House Inn, Calgary, AB. Special guests already booked include: Brandon Sanderson, Jacqueline Guest, Diana Gabaldon, D.J. McIntosh, Mark Leslie (Kobo Canada) and others.

I’ll be there too!

www.WhenWordsCollide.org.

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit www.ninamunteanu.me. Visit www.ninamunteanu.ca for more about her writing.

Nina Munteanu at When Words Collide

In a few days I’m heading for Calgary to participate in one of Canada’s premiere writing conferences, the 3^rd Annual When Words Collide (WWC-2013): August 9-11, 2013 at the Carriage House Inn (9030 Macleod Trail South, Calgary, AB).

Winner of the 2012 Aurora Award and current nominee for the 2013 Aurora, WWC is a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, childrens books and poetry. Readers and writers share information, learn, and build a sense of community. The conference features experts representing diverse genres including mystery, science fiction, fantasy, romance, literary, historical, western, film scripts, and poetry.

The interesting nature of the conference is reflected in its diverse and comprehensive Programming: writing, literature, publishing, art (cover/interior); Kaffe klatches; pitch sessions, autograph sessions, readings, Blue-pencil café; parties, and a merchant’s corner. The festival also includes in-programming workshops (I’m doing two of them) and pre-conference workshops.

Featured guests of honor include: Patricia Briggs, Michael Cassutt, David B. Coe, D.B. Jackson, Barbara Fradkin, Shirlee Smith Matheson, and Jamis Paulson.

I will be sitting on several panels, giving a reading from my latest SF book Inner Diverse (of The Splintered Universe Trilogy), participating in an autograph session, Blue-pencil café and giving two writing workshops:

• ·      The Hero’s Journey
• ·      Self-Editing

Nina’s Schedule at WWC-2013:

Friday 6 pm: PANEL—“Listening to Books”

Friday 9 pm: PANEL—“The Issue is the Issue”

Saturday 10 am: PANEL—“The Alien as Metaphor”

Saturday 11 am: PANEL—“Transhumanism”

Saturday 12 pm: PANEL—“Making the Everyday Fantastic”

Saturday 1 pm: READING—Reading from “Inner Diverse”

Saturday 2 pm: PANEL—“What Women Write”

Saturday 7 pm: PANEL—“Editor for Hire”

Saturday 8 pm: AUTOGRAPH SESSION

Sunday 10 am: PANEL—“Pantser, Plotter of Quilter”

Sunday 11 am: WORKSHOP—“The Hero’s Journey”

Sunday 1 pm: WORKSHOP—“Self-Editing”

Sunday 3 pm: BLUE-PENCIL CAFÉ 

I’m looking forward to visiting with old friends and meeting new ones. See you all there!

I will also be joining awesome voice artist Dawn Harvey for readings of Inner Diverse of The Splintered Universe Trilogy on Thursday (August 8) at The SENTRY BOX at 7 pm on and on Friday August 9^th at Chapters (Chinook Centre) at noon.

See you all there!

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit www.ninamunteanu.me. Visit www.ninamunteanu.ca for more about her writing.