PUBLISHING
Since 2009, the FriesenPress publishing team has helped thousands of writers tell their stories. And now, we’re delighted to offer our expertise to your writing group or literary organization’s next event – in-person or online, and completely free of charge!
Our team of professionals can inform your audience about a wide range of industry topics. From demystifying self-publishing to effective book marketing techniques, our speaking engagements have been enthusiastically received by audiences across North America. We’re happy to curate our content to meet the specific needs of your group.
Visit FRIESENPRESS.COM/SPEAKING-ENGAGEMENTS or email BOOKING@FRIESENPRESS.COM to learn more about our amazing speakers and book us for your next event!
BOOK LOVERS HEADED TO Calgary THIS SUMMER
Over my years as a professional writer and editor, I’ve attended more conferences than I can count (I’m somewhere in the hundreds at this point).
So, when I discover a conference or trade show that is both educational and entertaining, I tend to attend it on a regular basis. I can honestly say that When Words
Collide is one of the best writing conferences I’ve ever had the pleasure of attending.
Taking place from August 16 to 18 at the Delta Calgary South in Calgary, Alberta, this festival is designed for writers, readers, artists, and publishers of commercial and literary fiction. The mandate of the conference is “We aim to support writers in the craft and business of writing, exploring all avenues of the writing process, publishing and storytelling, while building a strong literary community, and to bring local writers - Alberta and Canada - to the attention of book lovers.”
Now organized by the Alexandra Writers’ Centre, When Words Collide certainly does all of these things. I’ve met writers from all over Canada at this annual conference, and have had some great conversations with fellow writers, editors, independent publishers, and avid readers.
There are dozens of sessions to attend and a ton of talented authors’ books available for purchase (my suitcase always comes home substantially heavier than when I left).
Attendees also have the opportunity to mingle
with up-and-coming authors throughout the conference.
If you’re interested in learning more about the written word or supporting Canadian writers, I strongly recommend checking out this event. This year, Canadian Independent Publishers will be celebrating its one-year anniversary at When Words Collide, and will be offering some fun swag and great deals on subscriptions, so check out us out in the exhibit area.
For more information on the event or to register, visit: https://www.alexandrawriters.org/whenwords-collide-2024.html
Hope to see you in Calgary!
Andrew Snook Editor and Publisher
WRITING COMPETITIONS
Lesley Strutt Poetry Contest
Deadline to submit: august 10, 2024 www.poets.ca/offerings/awards/#contests
BEST INDIE BOOK AWARD
Deadline to submit: August 15, 2024 www.bestindiebookaward.com
WRITER’S DIGEST POETRY Competition
Deadline TO SUBMIT: OCTOBER 4, 2024
www.writersdigest.com/writers-digest-competitions/ poetry-awards
WRITER’S DIGEST SHORT STORY Competition
Deadline TO SUBMIT: NOVEMBER 15, 2024
www.writersdigest.com/writers-digest-competitions/ short-short-story-competition
NEXT GENERATION INDIE BOOK AWARDS
Deadline TO SUBMIT: FEBRUARY 13, 2025 www.indiebookawards.com
Tamara Thiebaux-Heikalo has been drawing for as long as she could hold a pencil. She immigrated to Nova Scotia from the U.S. at the age of 12 in 1963, and fully embraced her passion for illustrations throughout her childhood, escaping into her imagination through art. Tamara always believed she would become a professional artist, and pursued that career successfully. She has enjoyed a career as an independent illustrator, artist and graphic designer for over 30 years. Her illustrations have been published in various books for children and adults. Several of the children’s books have received honourable recognitions or awards.
Canadian Independent Publishers had the opportunity to speak with Tamara and learn more about what drives her passion to create.
Can you tell us a little about your favourite mediums?
Most of my work is in watercolour,
sometimes I use acrylics. Just pencil or pen and ink is also wonderful. I love black ink drawing. I have played with other mediums, such as coloured pencil and chalk pastels, but they don’t hold my interest. I never got the knack for oil painting, unfortunately, because oil gives a beautifully rich quality of colour.
My styles tend to be whimsical, caricatural, and realistic. But I especially relish surreal and absurd imagery. Someone once told me I should stick to “pretty” pictures, not the weird stuff. I say, never tell an artist how to be an artist – unless you want to lose me as a friend!
What were your biggest influences growing up that got you into illustrating?
My parents understood the value of reading and provided me with excellent books while growing up. I have memories of our father reading books to me, such as Winnie the Pooh,
A chat with
TAMARA THIEBAUX-HEIKALO
By Andrew Snook
illustrated by Ernest H. Shepard. He would alter the voices of the characters, which was wonderful. One summer he spent evenings reading James and The Giant Peach to us, illustrated by Nancy Ekholm Burkert. I was encouraged to draw pictures of the story while listening. Of course, Burkert’s illustrations were far superior to anything I came up with at the age of eight, but the process was still interesting for me. I am sure that the quality of the illustrations in the books I was exposed to growing up made a strong impact. Plenty of wonderfully illustrated books could be found in libraries, too. Without a doubt, they would have influenced my chosen line of work.
Did you always want to be an illustrator?
Art class in school was always where I felt capable. All other subjects I struggled with, even failing Grade 6 math, which my mother probably took as a personal insult, since she was a mathematician. In high school, my art teacher, Brian O’Grady, told me that my abilities would suit illustration. Perhaps because what
I drew or painted suggested a vivid imagination, and an interest in characterizations. He was one of the very few people who showed me encouragement. Shortly after quitting Mount Allison University, I decided to try to get into the field of children’s
book illustrations. I dedicated my first published book to him. To start my efforts, I took a popular folktale, Goldilocks and the Three Bears, and created the illustrations for it as an example of my abilities. But I gave it a new ending: Goldilocks gives the Bear
(Top left) Tamara Thiebaux-Heikalo with her feline friend, Mitou. Photo: Daniel Heikalo.
ILLUSTRATOR PROFILE
Family a new chair for Baby Bear, as an apology. I wanted to give this story a satisfactory conclusion. I sent it out to a few publishers. One publisher called the ending anemic. But Fitzhenry & Whiteside in Toronto liked it, and published it.
A reviewer of a big newspaper objected to my new ending, criticizing the “tampering” of old tales. What she was clearly ignorant about is how often this story has been changed throughout history. Pretty much every single folk and fairy tale has gone through various recreations. This seems the norm for history – language, stories, folk songs, etc. The earliest known version of Goldilocks is of an old woman who dies after jumping out of the window. A contemporary and wonderful version I came across with no text, just pictures, reverses the characters, with a bear getting into the home of humans.
Fitzhenry & Whiteside then asked if I had any other stories that interested me. I did: When Heaven Smiled On Our World, a memoir of early Quebécois Christmas celebration. It had been suggested to me by an acquaintance. This was published in 1992, and it is one of my favorite productions. I relied on the 19th-century painter Cornelius Krieghoff as reference for details of buildings, furniture and clothing. It has appealed greatly to those who have similar memories, or have Québécois heritage. Fitzhenry & Whiteside re-issued it in 2020.
I was very fortunate to have gotten started when I did. Trying to get attention from publishers now is nearly impossible. Many of the small companies have been devoured by the multinationals of publishing. And the population of illustrators has exploded.
Do you find the creative process illustrating for others challenging?
I love the challenge of illustration – taking a writer’s story and
translating the concepts into a visual work. When I read a story, images immediately come into my mind. An additional delight is coming up with small details to add that become like a quiet contribution to the tale. For the book, One Summer In Whitney Pier, the second children’s book by the Honourable Mayann Francis, I included a few cats in a couple of the scenes. I think this motivated Dr. Francis to request that I do a painting of her own cat, for the dedication page of the book. She and I occasionally correspond, and share news about our respective cats, which is a lovely outcome. I had been hired to illustrate her first book, Mayann’s Train Ride, and she liked how I did it, so she asked the publisher for me to be the illustrator for her second book. That certainly made me feel good!
What type of illustrations do you find the most challenging to sketch?
I use a somewhat realistic style for children’s book illustration. I say “somewhat” because my skill does not come close to an artist such as Kadir Nelson. Other illustrators, such as those who have worked on other books by Shauntay Grant, another writer for whom I have illustrated, are even more realistic than I can do, but I am okay with that. I like how I render characters. But it does not come easily. Good training could have helped with that. However, it is an opportunity to use a touch of whimsy, which is more forgiving of “errors.”
I would love to be more eccentric with illustration. It can be such fun, and liberating. Most of the books for which I have been hired require more realism than whimsy as an appropriate approach. But I did have an amazing connection with a friend, Richard Lewis, who is, sadly, deceased. He had an enormous capacity for elaborate, fantastical, and humorous, yet astute, social commentary. Our collaboration focused
on an imaginative world of faeries and other beings. Richard’s inventiveness was inspiring for the type of pictures I like to create. It was a richly entertaining experience. Richard had also hired me for a project of his, a body of poems entitled The Wrath and Blessings of The Dark Mother. His writings, and ways of thinking, showed a deep sensitivity, with elegant and sumptuous metaphors. He found in my work an ability to transcribe his vision. Richard gave me full freedom to do what I do best, in coming up with imagery in response to his words. It was an enormous pleasure to work on, and a vanity press book was created. I did the layout and design for the book, as well, which was especially satisfying.
Are there illustrators whose work has influenced you over the years?
I can’t give you a short list! And there are always new ones to discover. But here are a few who I admire, or who have inspired me: Anne Bachelier; Almud Kunert; Lisbeth Zwerger; Kadir Nelson; Ralph Steadman; Michael Sowa; Sempé; Jill Barklem; Sara Midda;
Roy Gerrard; Mitsumasa Anno; Maurice Sendak; Edward Gorey; Heinrich Kley; Grandville; Ernest H. Shepard; Anton Pieck; Arthur Rackham; Edmund Dulac; Sulamith Wülfing; Carl Larsson; William Kurelek; Howard Pyle; N.C. Wyeth; and Ivica Stevanovic.
Are there any other people that have had an impact on your career?
My significant other, Daniel. I have to include a word here about him. He plays an important role in my work as an illustrator. He can remember where, in our enormous collection of books (and computer drives) to find a detail or reference to something I might need. Daniel has a marvellous aptitude for historical topics, and art, as well as an immense interest in, and concern for, socio-political issues. And he is supremely supportive of my work. He is also a significant role model for me, to create without personal censorship. His own talents, as a musician and composer, and skills with pen and ink, are brilliant in their freedom of expression. He is also a photographer and highly sensitive with his vision.
Do you have any projects that you want to tackle sometime in the near future?
For a couple of years, I have been working on a collection of ink drawings intended for an adult colouring book. The theme is “For The Love of Cats! Ailurophilia.” I have been trying to find a publisher, but no luck so far. As a child I enjoyed colouring books. Some of these were typically not of commendable quality. But others, thanks to the adults in my life who gave these to me, were truly beautiful. I also received stunning colouring posters. I am sure these posters and books, with their exquisitely rendered line drawings, had influence on my growing sensibilities as an artist. While seemingly simple, it takes thoughtful consideration to create an image
within the confines of black ink lines, yet still convey an image that can stand by itself as art. Black and white art – pen and ink, woodblock, etched or engraved prints, can be outstanding.
Why cats?
For the longest time, I considered myself a dog person. I had very little interest in, never mind understanding of, cats. But I am now certifiably madly enthusiastic about cats. My husband and I have nine rescued cats and one dog. The cats were all abandoned, most of them right on our road. Some of them needed gentle and patient rehabilitation, which is truly rewarding. Cats are and have been chosen companions for many famous people – artists, writers, politicians. To name only a few celebrities and historical figures who had significant connections with cats: Catherine the Great, Cardinal Richelieu, Charles Baudelaire, Florence Nightingale, Abraham Lincoln, Gustav Klimt, Leonor Fini, Mark Twain, Edward Gory, Frank Zappa, and Freddie Mercury.
Check out Tamara’s art at: tamaraheikalo.wixsite.com/artist
You can also see some examples of faeries and other beings, followed by art for The Wrath and Blessings of The Dark Mother at: https://tamaraheikalo.wixsite.com/ artist/collaborations.
For surreal and weird art: https://tamaraheikalo.wixsite.com/ artist/other-creations
Facebook portfolio
https://www.facebook.com/ tamarathiebauxheikalo
YouTube:
A short video about Tamara’s process for illustration can be found at: www.youtube.com/ watch?v=h79oNsAo0ZU.
Canadian writing and publishing organizations advocate for AI regulations in Ottawa
In honour of World Book and Copyright Day, a coalition of ten writing, publishing, and creator organizations from across the country convened in Ottawa this week to meet with parliamentarians and government officials on the opportunities and challenges that generative artificial intelligence poses for Canada’s book industry. The organizations, spanning both French and English Canada, represent more than 300 book publishers and over 10,000 individual creators from across the country.
Canada has the opportunity to create a regulatory system for AI that supports the value of human creation and sustains our vital cultural industries. It has become commonplace for some generative AI companies to highlight their innovation and investments as a reason for governments to grant broad copyright exceptions. But these companies owe their considerable success to the prior innovations and investments of others—the intellectual and creative investments of authors and the financial investments of publishers. There is no good public policy reason to weaken copyright protection for the convenience of technology companies. It is imperative that the livelihoods of writers and publishers are protected, if not enhanced, by AI regulations.
Publishers and writers own the copyright to the works that are of greatest value in the training of generative AI: books. “Protecting an author’s work is difficult at best, and not having appropriate measures in place to defend against generative AI companies could be catastrophic to our creative communities,” said Travis Croken, Co-chair of the Canadian Authors Association, at a reception on Parliament Hill highlighting the hardships faced by Canadian creators due to the upsurge of generative AI.
The focal point of the reception was a book display featuring a selection of the thousands of Canadian titles that have been used without consent to train generative AI systems. The technology companies that have made use of these books did not seek the permission of the authors and publishers concerned and have made no effort to compensate rightsholders for this use.
The Canadian book industry has put forth several key recommendations concerning AI to safeguard the moral rights of authors and the
copyright protection of authors and publishers. The sector is advocating against implementing new copyright exceptions or compulsory licensing regimes, instead proposing a free market for text and data mining licenses where rightsholders can share in the economic value that generative AI will inevitably build on the foundation of their work. Furthermore, the Canadian book industry stresses the need to adopt transparency provisions, like those recently introduced by the European Economic Union in the AI Act, to stop unattributed and uncompensated AI training on copyrighted works. Transparency is essential to the development of a fair and safe AI ecosystem—otherwise, generative AI models will continue to develop in an opaque, unfair, and undemocratic manner, without respecting the rights of creators.
“We need writers, and we need writers to be paid properly for their work, because they bring us new ideas,” said Lisa Hepfner, Member of Parliament for Hamilton Mountain and parliamentary sponsor for the reception. “Anything that AI is coming out with is being scraped from something else—there’s no ingenuity, there’s no creativity, there’s no human spirit, and that’s what we have to protect.” The Honourable Pascale StOnge, Minister of Canadian Heritage, was also in attendance.
“In the age of artificial intelligence, we are at a new crossroads, and fortunately solutions exist so that books can continue to be published in a respectful and equitable environment for creators and rightsholders,” added Karine Vachon, Executive Director of the Association nationale des éditeurs de livres.
As the Canadian book industry continues to advocate for the interests of publishers and creators, it remains committed to working collaboratively with the Government of Canada to address the pressing needs of the creative sector. Their recommendations are also supported by the associations of artists and cultural enterprises grouped within the Coalition for the Diversity of Cultural Expressions (CDCE).
Submitted by the Association of Canadian Publishers (ACP).
As a parent of three small kiddos, I understand the challenges that come with trying to balance work, raising children and all the other aspects of everyday life with finding the time for fiction writing. So, when I sat down and chatted with Jessica Sheppard, a mother of four little ones and long-time social worker, I tipped my hat to her for finding the time to build a career as an independent author. In 2023, Jessica independently published Descending Into Darkness, Book 1 of The Adventures of Izzy Adams series. The book is an entertaining story that explores the themes of self-discovery, courage, and the strength of spiritual connections. Here is a brief synopsis from Jessica’s website:
Izzy Adams has always struggled to balance her family’s expectations with her own aspirations. However, her life unexpectedly turns when pulled into the spiritual realm. In this captivating world, Izzy must face new challenges, navigate treacherous forces and confront her inner demons. While surrounded by demonic beings, she finds comfort in the presence of her protective soulmate but must also evade her spirit guide’s attempts to erase her memories and return her to the mundane world.
Recently published books:
· Descending Into Darkness
(Book 1 of The Adventures of Izzy Adams)
· Bound By Darkness
(Book 2 of The Adventures of Izzy Adams)
*Available September 2024
Place of residence: Belleville, Ont.
Website: www.jessicaleesheppard.com
Follow her on social media:
Instagram: @jessica_lee_sheppard
Twitter: @Jessylsheppard
YouTube: @JessicaSheppard-uq2yy
JESSICA SHEPPARD
By Andrew Snook
A chat with
Pen name: Jessica Lee Sheppard
Jessica was recently awarded the 2024 Feathered Quill Awards in the Fantasy and New Author categories for her debut novel. I had the opportunity to sit down and chat with Jessica about her passion for the written word, navigating the world of indie publishing, and her future plans.
When did you first discover your love for writing?
I’ve loved writing since I was a little kid. Those tabloid papers that you can get, like the National Enquirer, I used to make my own up for my dad when I was six years old. Every week he would get a new copy from me with stories like, “Bigfoot attacks Madoc,” things like that. I continued writing all throughout school. I was awarded a writing award in Grade 8, and continued writing through high school and college. I planned to go to university for creative writing, but I wanted to make sure I could make a living afterwards, because it’s hard to make a good living off being a writer. I wanted some financial security, so I studied social work and psychology instead. I took writing courses as electives where I could, but my writing got pushed to the backburner once I got into university because it was hard to keep on top of all the assignments. It wasn’t until years later when my grandmother got sick with cancer that it kind of hit home that she’s never going to be able to see my written works. So, at the beginning of 2019, I started doing a lot of research and outlining my book series. I’ve always wanted to write a book and I wanted to make sure that the people close to me would get to see it. Unfortunately, neither one of my grandmas were able to see it, but my parents have, and I’ve won a Feathered Quill Award, which was great for my parents to be able to see.
How did it feel to get that first printed copy of your book in hand?
It didn’t feel real when I had the first paperback copy. It wasn’t really until the hard copy came in with the fancy jacket that I was like, “Wow, I’ve written this. This is real.” And then when people were contacting me wanting me to mail them signed copies, that felt surreal. And then that scary feeling came, that self-doubt, asking myself, “Is my book really that good? They’re spending all this money on it. I hope they like it.”
How did you find moving from the writing side to the marketing side of independent publishing and getting out there in front of potential readers to showcase your fiction?
I didn’t realize when I was sitting down writing the book that there was so much marketing that I would have to do, too. I think it’s about pushing yourself out of your comfort zone to try different things to see if they work. Before Christmas in 2023, because I’m so new, I bought a Grinch suit and went down to the Toronto Santa Claus parade and was handing out flyers with my pre-order. I got more people taking pictures with me and my Grinch costume than
wanting to take my flyers. I was really nervous about doing that, it was intimidating. But I went out and I did it, and then posted it on social media. It’s about putting myself out there, and sometimes the stuff works and sometimes it doesn’t. All my free time goes to marketing and writing.
How important was it for The Adventures of Izzy Adams series to have Canadian representation?
I always like to talk about the Canadian content because there isn’t enough literature out there that is based in Canada. I also kept it local with a young Canadian student attending Loyalist College, because I’m from Belleville and Madoc, Ontario.
Do you find that your experiences as a social worker have impacted how you write fiction?
Because of my background in social work, I include a lot of social issues within my fiction. I cover topics such as racism, immigration and child poverty in Canada. I guess I weave that through my stories to help people get an un-
derstanding of the impact that has on other people. I had a review come in on Amazon, and the person really liked my book. They thought it was excellent writing, but they hated that it was Canadian, and they hated that there were social justice issues throughout it, and how it portrayed white people. So, I said to my husband, “You know, it’s good feedback and a good review. It must have made them think, which is what I want my books to do. I especially want to make younger people think about how their actions impact other people. With my background in social work, I’ve worked in child protection. I’ve worked in mental health. I’ve also dabbled in a whole bunch of other different areas of social work. I have my master’s degree in social work, so I wanted to still use all that knowledge, and I think it’s made me a better writer in the end. I’m glad I didn’t start shooting out books when I was 20, because I didn’t have all the life experience
to put it into it that I have now.
What would you say are some of your biggest challenges as an author?
I used to think it was the writing part, but now that I’m almost done my second book, I think that’s the easier part. I would say having to develop my own website was very daunting. Also learning how to make a book trailer. Social media has also been a little bit tricky. I’m not too introverted, but I’m told you’re supposed to be putting up two to three posts a day. That’s insane. There’s no way. I did it while I was waiting for my book to come back from my editor, but you run out of stuff to put out, so I don’t do that anymore. I don’t have the time. So, I just post where I’m doing my next vendor event or when I got my award, that sort of thing. I was also a little discouraged with not being able to get books into bookstores. But I’m booked almost every sin-
gle weekend this year all over Ontario. I’m selling my book at different spots and different festivals in Ontario. It was scary the first time I did a vendor sale, now it’s easy to do. You learn different sales techniques doing it.
What has been your favourite aspect of creating The Adventures of Izzy Adams?
The world-building is really fun, as is coming up with different spell names and different systems of how things work. It was a little tricky because it’s the spirit world. Physically, you have to really wrap your mind around things sometimes. Like, they’re a ghost. Can they touch things? Can they sense things? How do I include all the five senses? What do you experience when you’re a ghost? I had to make my own rules and make sure they made sense to me, and they would make sense to the reader. That part was tricky. But I really enjoyed coming up with it, as well as working on character development. That was really interesting and fun.
What advice would you give to new authors starting out?
I’ve had a lot of people come up to me and ask questions. I always explain the difference between independent publishing and traditional publishing, and the pros and cons to both, so that they’re fully aware. I always make sure to warn them that there’s many scams I’ve encountered, and a lot of writers I’ve met have been taken advantage of. So, I always like to tell people to make sure they’re fully investigating everything... check to make sure anyone you plan on working with is legit.
What are some of your future goals as an author? I’m going to develop a website that offers people free resources related to independent publishing. I want to put out a ton of helpful stuff on the website, like here’s the editor that I use, and here are other editors that I’m aware of that are legit. Here’s where I go to get formatting done. I want to help people. I want people to know they don’t have to go the traditional route. They just need to make sure they do it right and know the steps to take. I’m also taking a certificate course through Queen’s University for editing. I’m going to eventually get into doing some developmental editing for people in the future. I’m also planning on launching a blog after I finish Book 2 of The Adventures of Izzy Adams.
To read more about Jessica Lee Sheppard and her fiction, visit: www.jessicaleesheppard.com.
By Astra Crompton
Today’s audiences are invested in the quality and craft of the books they read and have the platforms to vocally declare their love (or revulsion) where everyone can see. On social media and in reader reviews, readers share the books they loved and decry the ones they didn’t — and often outline in detail why they didn’t connect. No matter how good the book, every book gets some 1-star reviews. Just look at all the poor reviews on literary greats like Jane Eyre or The Great Gatsby!
To improve the chances of your book landing well with its target audience, getting early feedback before publication is crucial. These readers can alert you of potential issues while you still have time to change the text, setting you up for success, and preventing blindsiding responses that could damage your book’s reputation. This is where beta readers and sensitivity readers come into play. Building the time into your production process to garner these readers’ valuable feedback will give you the opportunity to identify weaknesses in your manuscript and brainstorm ways
to resolve them before your work is thrown to the ravenous public. You might think, “I’ve told the story exactly as I mean to tell it” or “there’s nothing offensive in my book,” so why should you seek out these early readers? You’d be surprised what falls under these umbrellas!
Here we’ll go over the value beta readers and sensitivity readers can provide to your review process and how best to incorporate their feedback — plus some templates to get you started!
What’s the difference?
Beta readers offer your first responses. They can read through the book chapter-by-chapter as you’re writing, providing feedback (and motivation!) as you go, or they can read an early draft in one pass. These are readers who are good representatives of your target audience and who can provide constructive feedback. Someone who just says “I love it!” wouldn’t help you grow; likewise, someone who just tries to change your voice into how they would write the book isn’t any help either. A good beta reader
should be able to answer specific questions about writing craft (like pacing, voice, and consistency) while also engaging with the text as an audience member (are they entertained, credulous, or emotionally moved?).
Sensitivity readers should be brought in once your manuscript is in a closer-to-finished state, where all your story (or structure) and characters (or themes) are well developed. At this point, you’ve got everything on the page that you want to be there, in the order you want to present it. If there are topics that may limit or potentially distress your audience, or experiences reflected in your characters or theories that portray lived experiences you don’t share, it’s important to make sure you’ve handled them accurately, appropriately, and with sensitivity. Bringing in outside eyes from within the experience or community you’re writing about can catch stereotypes, inaccuracies, or missed opportunities. Addressing these concerns and revising the affected sections with their expert guidance can ensure your book is received well by your readers.
How to address bias
Every author has unconscious biases. These are usually formed by our experience living in the world (after all, “write what you know,” right?). But biases can also be absorbed from the media we consume. Especially if your sources are older or are all from a specific perspective, there are likely large pieces of the picture you’re not aware of. This can translate into inaccuracies in how you tell your story or present your findings.
When stereotypes or falsehoods are repeated often enough, they can get absorbed through cultural osmosis, erroneously believed as fact, and then perpetuated by authors in their own books. Watch any doctor on social media as they debunk medical practices depicted in shows like General Hospital or House, and you get the idea. This kind of bias creeps in where writers least expect it, and it’s practically impossible to see on your own. This is where having a diverse group of beta readers can really help. They bring all their lived experience to your book, filling in those blind spots and ensuring your work is as solid and accurate as possible. Getting their feedback and catching those gaffs before the book hits public shelves will prevent embarrassing errors, callous portrayals, or bigoted language that might result in negative reader reviews. Every author wants to be taken seriously and have their work perceived as skillful, relevant, enjoyable. Why wouldn’t you remove barriers that could be alienating readers or hurting your sales opportunities?
Why does it matter?
Readers look for stories that reflect their experiences, but the book industry still has a long way to go in terms of diversity and representation.
According to the Centre for Literacy in Primary Education, in 2022, only 30% of books for teens and children contained characters of ethnic backgrounds (though the number of main characters remained much lower). The National Literacy Trust found that 40% of young readers don’t see themselves racially reflected and 44.3% don’t see gender representations that reflect their identities. Meanwhile BookNet Canada’s 2021 study found 41% of adult readers found that one or more aspects of their diverse background (including faith, gender identity, sexuality, ethnicity, neurodivergence) was not represented in the books they read.
These numbers represent a large portion of the reading public that isn’t being served. Those readers could be part of your audience if you handle their truths well. Of course no minority group is a monolith, and what may ring true for one may not reflect the experience for another. But it’s better to strive for accuracy than to perpetuate stereotypes that offend or revile your potential readers.
There are also specific topics that — if you haven’t lived them yourself — you’ll need to seek experts to verify. This is where sensitivity readers shine. They act as a living library of certain experiences. They can root out unintentional bias to ensure that readers like them will be reflected accurately in the book.
How to find beta readers and sensitivity readers
Depending on the kind of reader you’re looking for, you’ll need to choose an appropriate database.
Many beta readers are writers themselves, so you can make connections in your local writing groups, often by offering to read their work in exchange. You can also find writers in online groups on MeetUp, Facebook, or NaNoWriMo. You may want to start with exchanging a test chapter to make sure you’re a good fit and that the feedback styles match. If you already have an existing mailing list or audience, you can ask if there are any readers among them who might want to weigh in on your book before publication. For sensitivity readers, you could ask people in your life who belong to that group, but ensure they have experience in providing this kind of feedback. If you don’t know anyone personally, you can start with associations of editors, such as the Indigenous Editors Association, or writing groups like Writing Diversely. If you’re looking for specific topical expertise, you can also look up university professors or consultants in that field and ask if they’d be able and willing to review your work. When working with experts, you may even be able to ask for a testimonial for the book
cover.
Keep in mind that reading critically and providing feedback is an investment of time and expertise, so you should budget for compensating your readers for their time. Sensitivity readers usually set flat rates based on the length of the work or per word. Some beta readers might be willing to read in trade, but others might expect compensation. Be sure to confirm timelines — especially if getting multiple readers’ responses to your work — in order to incorporate their feedback. And be sure to include your thanks to all your readers in your acknowledgements!
How to gather and use feedback
In order to collect useful feedback, you’ll want to focus your readers’ attention on the areas where you’re most looking for help. This might be the overall pacing of the book (Did you get bored at any point? Did you find yourself having to re-read a section?), or specific scenes or characters that you’re worried may not be as convincing as you’d like (Were there any areas of confusion? Did this push your suspension of disbelief too far? Were there any inconsistencies?).
If you present your questions to your readers up front, they can focus their time and attention on providing the feedback you want. It helps to have multiple readers providing feedback on the same topics, as then you can review a range of comparable responses. You’ll want to prioritize a consensus, but you can then sift through differing feedback to get a nuanced picture of the potential changes you may wish to make. Of course, leave room for anything else your readers might pick up on, too. They
might have great insights into aspects you weren’t aware of at all!
To help you gather useful, consistent feedback from your beta and sensitivity readers, we’ve put together three starter questionnaires. You can use the below as a base, but of course feel free to adjust any of these items to better suit your book’s contents. As getting consistent feedback is key, create a template in your preferred format for receiving your readers’ notes (email, Word docx, Google Doc, PDF, etc.) so you can easily compare apples to apples. Preface your questionnaire with your book title, synopsis, word count, and reading window to ensure the deadline for submitting feedback is clear. Then wait for the responses to come rolling in so you can compare, consider, and implement as needed.
The Beta Reader Questionnaire (Fiction) Plot
• How would you describe this book to someone else?
• Do the chapter titles fit the contents without giving anything away?
• Did you spot any anachronisms (technology, terminology, colloquialisms, etc., that don’t fit the setting/time period)?
• Did you spot any inaccuracies (technological, medical, historical, geographical)?
• Was the plot easy to follow? Did you see any twists coming (if so, when did you figure it out)?
• What theme(s) did you notice?
Pacing
Was there anywhere your attention flagged? Did any areas feel like they dragged? Did any transitions happen too quickly that you felt disoriented or that you might have missed something?
• Which scenes most emotionally resonated with you?
• What was your favourite part and why?
• Did any chapters feel unnecessary? If so, what was missing?
• Was the ending satisfying? Did it come too soon or take too long?
Characters
• What was your perception of characters (any favourites/least favourites)?
• Are POV changes clear? Does each character’s voice feel internally consistent?
• Was the dialogue believable?
• Were there any character motivations that didn’t ring true or make sense to you?
• Did any characters feel too similar? Did you struggle with any names being too similar or lose track of who anyone was?
• Did the antagonist(s) feel appropriately threatening/dangerous? Did you root for the villain?
• Did any characters feel flat/unbelievable?
The Beta Reader Questionnaire (Non-fiction)
Organization
Does the book’s organization make sense?
• Do the chapter titles accurately reflect each section’s topic?
• How was the overall pacing (was there anywhere your attention flagged)?
• Any unnecessary repetition?
• Were the citations clear? Would a resources/ reading list help? Would an index help?
• Was there anything missing that you expected to see?
Content
Balance of narrative voice: was the tone appropriate and appealing? If not, why not?
• Any anecdotes that don’t fit their topic/have unclear messaging?
• Was there any terminology that needed more explanation? How accessible was the language (too dense/too basic)?
• Are the exercises/takeaways helpful? Are they clear?
• Any areas that needed clarification?
• How was the balance of narrative/references/anecdotes?
Impact
• How would you describe this book to someone else?
• Who would you recommend should read this book?
• Did you find the book useful? Why or why not?
• Which parts were the most interesting/useful? Did you learn any new facts/techniques/approaches?
• What was your takeaway message?
• The Sensitivity Reader Questionnaire
• Subject matter to review
• Any inaccuracies (factual, technological, medical, historical, geographical)?
• Any sections that don’t ring true
• Any sections that are triggering or offensive
• Any characters/statements that perpetuate harmful stereotypes
• Any cultural elements that are inaccurate
• Where did you feel most seen?
• Is there any content that you’d recommended be handled differently (expanded/trimmed back)?
• How would you describe this book to someone else?
• Who do you think this book would appeal most to? Is there any group you think might be excluded from the readership?
• If you feel this book should have content warnings, what would you recommend?
All questionnaires should end with space for the reader to leave their final thoughts on the text they’ve been asked to read, in case any of their feedback doesn’t fit into the boxes you’ve identified.
The beta and sensitivity reading process is likely to add time to your publishing journey, but it’s often time well spent. We hope this resource enhances your understanding of this process and helps you write and publish your stories with confidence!
Astra Crompton is a writer and illustrator with 20 years of experience in self-publishing. Her short stories have been published in magazines, anthologies, and used in school curriculums. She has taught courses and written articles on creative writing for five years. As Editing & Illustrations Coordinator, Astra also manages, coordinates, and vets FriesenPress’s industry-leading editing and illustrations teams.
BOOK RELEASE
Maria João (M.J.) Maciel Jorge recently released The Hyphen: And Other Thoughts From The In-Between, a collection of essays and poignant vignettes that explores cultural heritage, hyphenated identity and the enduring pull of memory through the perspective of an Azorean Canadian immigrant and academic. Navigating disparate worlds while embracing the subtle nuances of language and history, M.J. reflects on a myriad of topics (saudade, folklore, Portuguese literature, emigration and exile) while finding comfort in the pleasure of her “in-between life,” a realm brimming with uncharted possibilities. These deeply personal essays are a testament to the strength and joy of discovering—through wandering and wondering—one’s
unique place in the world. M.J. is an associate professor of Portuguese and Luso-Brazilian Studies and Associate Dean of Global and Community Engagement in the faculty of Liberal Arts and Professional Studies at York University in Toronto. Her research and academic publications focus on Spanish and Portuguese literature, colonial and New World encounters, and Portuguese island culture and literature. She currently resides in Brampton, Ontario.
This interview was submitted by the publisher of The Hyphen, Arquipélago Press, an independent publisher dedicated to publishing Luso North American authors and Portuguese literature in translation.
Maria João Maciel Jorge discusses The Hyphen
What drove your decision to explore and write about your experiences through the unique lens of being an Azorean Canadian immigrant?
My motivation was twofold. On the one hand, I wanted to dispel myths about the Azores and its inhabitants while honouring a magical place from where over 70 per cent of all Portuguese immigrants in Canada came. But I also wanted to capture the complexity of immigrant life, its trials and celebrations. By focusing on the microcosmos of mainly Azorean immigrants, I also wanted to highlight a shared human experience among those who might see themselves through any lenses of displacement, solitude, and marginalization as it is the lots of most immigrants, even our supposed multicultural society.
How do you believe your connection to immigrant narratives and the Azorean diaspora shapes the authenticity and depth of your writing’s themes of culture, family, and dual identity?
I believe that comes from my early years in Canada and my path as an immigrant of poor means working in low-paying jobs and trying to scrape by. It gave me a complete understanding of how difficult it is to be an immigrant. Then, my many interactions with fellow immigrants, especially women who preceded me without the advantages of education or resources, have not just motivated me but also instilled in me a sense of duty to document their struggles, to honour them in everyday acts by never forgetting. In my privileged path, I’ve also been so fortunate to teach the children
and grandchildren of immigrants. They have enhanced my understanding of navigating different cultures, the clash between tradition and modernity, between their desires and their family’s expectations, and the pressure to succeed financially to make it all worthwhile. My entire adult life has been as an immigrant, keenly aware of others like me, never fully belonging away but making the most of all iterations of one-self, sometimes multiple identities.
What specific examples or experiences have influenced your perspective on cultural misogyny, class entitlement, and colonialism, as expressed in your essays?
From early childhood, I was acutely aware that women carried a profound sadness due to the rigid stratification of Azorean society
(Top left) Maria João Maciel. Photo courtesy of Arquipélago Press.
then and the enduring consequence of the dictatorship. Tradition and patriarchy were widely accepted as the norm. Portuguese women did not get equal rights until the mid-1970s, and in a remote region like the Azores, things changed quite slowly. As a girl, I wanted to escape the limitations of my society and experience true freedom. Perhaps for this reason, I’ve always felt an affinity to those who were different. Back then, those who landed in the Azores were usually from colonies or ex-colonies, and many lived at the margins of society. When women are silent and expected to be so, we become great observers and listeners. I used those skills to try to understand those around me, but only later could I figure out that misery, despair and ignorance were the leading causes of a broken society. I’ve witnessed women being victimized by men and by other women who simply reproduced what had been done to them. As much as women were usually the scapegoats, men, too, were victims. Gender is also never divorced from class, and because we were poor, there would be no opportunities for me. Today’s Azores are entirely different from the islands of my early childhood. I have established many connections with like-minded Azoreans who have worked diligently to modernize the region, including government officials, intellec-
tuals and everyday people engaged in promoting equality across all levels of society.
In your essay, “The Return,” you discuss the profound influence that Jose Dias de Melo had on your awakening to the world of Azorean literature. Can you discuss the influence of Azorean literature on your writing style and themes and whether you incorporate Azorean literary traditions into your essays?
Azorean literature, particularly the works of Dias de Melo, captured the lives of the marginalized mass poor whose suffering had never been addressed. His writing about the whaling industry and its effects on the people of the island of Pico was pioneering in that regard. Those who wrote, especially during Salazar’s dictatorship, used literature as a weapon to bring forth the call for justice, equality, workers’ rights and dignity. Through the power of language, great fiction brings us together in our shared humanity and tackles truths about our inner desires. Dias de Melo wrote odysseys about ordinary people whose resilience was nothing short of extraordinary: survival heroes. His stories made me more human and more aware, and in some ways, gave me a deeper understanding of the intergenerational poverty and systemic barriers that greatly affected Azoreans and propelled their emigration from the islands. In my writing, I attempt to sensitize others, promote empathy and drive the message of what unites us all despite our different ethnicities and cultural backgrounds. And, much like other Azorean writers, Azorean landscapes and the presence of the powerful sea are themes always present in my writing. In addition, I identify with the world through the lens of an Azorean, akin to Nemésio’s concept of açorianidade, which defines our distinct traits as islanders – akin to mythical sirens – shaped by centuries of isolation in the mid-Atlantic.
How did your family dynamics and cultural identity while growing up in the Azores shape your perspective as a new Canadian?
I have often had this dialogue with other friends and immigrants like me. Unlike us, our various backgrounds and identities create a certain “spice” in our mainstream interactions with others. That is really what a multicultural society is: a rich tapestry of diverse experiences and ways of being and behaving coloured by various cultural elements. The way we greet others is perhaps viewed as overly affectionate from some Canadian’s point of view. There seems to be a racial ambiguity present, despite being a white woman; my cultural demeanour often leads others to perceive me differently. From a young age, our culture ingrains in us the concept of family unity and togetherness, which can sometimes conflict with the emphasis on individualism common in mainstream North American culture. Yet, ultimately, bringing one’s cultural identity into multicultural-
ism enables me to inject a sense of otherness, richer with complex layers. As an Azorean, that sense of otherness contains a hint of superstition, awareness of one’s place in the world, something that comes with small island life, and perhaps even a different aesthetic that injects a different way of seeing the world as scholar Irene Marques might argue.
How do you navigate the delicate balance between humour and critique when addressing the concept of Saudade in the context of the Portuguese diaspora in your essay, “Saudade, You Great Trickster!”?
I think all cultures should be critical when certain cultural cliches are packaged, sold and consumed without question. Saudade, for instance, is one of those concepts that has become a lure for tourism and a hook to keeping the diaspora linked to a newly imagined version of Portugueseness. This is connected to mass tourism, exoticism, Portuguese exceptionalism and other concepts that promote an imagined identity. Of course, I feel saudade and use it regularly in my Portuguese environment. Still, I am aware of it being promoted by politicians and marketers as a brand—and this is something we must reject. I hope this essay gets people thinking about saudade and the need to separate its emotional legacy from its more modern usage. Many instances of saudade are also linked with a colonial past of grandeur and exceptionalism. In its pure form, Saudade must be divested from all the “isms.” Using humour is a way to make light of the fabricated seriousness of it all. And I also don’t think we laugh enough, es-
pecially at ourselves.
Why is it crucial to challenge stereotypes and misconceptions surrounding Azorean identity and açorianidade in a modern global society where information is readily accessible? How can a balanced and updated reflection on açorianidade contribute to a more nuanced understanding of Azorean heritage and evolution over time? Because the Azores of today are unrecognizable even to Azoreans who left long ago. Myths and stereotypes about the Azores and its people continue still to this day. For example, immigrants from some regions of Sao Miguel are often mistreated because of their particular accents. The concept of açorianidade can go a long way in explaining our characteristics as Azoreans, the richness of our expressions, or perhaps our identity as quasi-Portuguese. It dispels myths and does not create additional obstacles. However, the large diasporic identities due to emigration are missing in Nemesio’s original essay of 1932. Therefore, I felt the need to not only validate our experience as Azorean as we are all ambassadors of açorianidade but also to affirm our participation in its renewal from the 21st century’s largest metaphorical tenth island — the one here in Toronto.
To learn more about The Hyphen: and Other Thoughts From The In-Between, or to purchase a copy, visit: https://arquipelagopress.com/product/ the-hyphen-and-other-thoughts-from-the-in-between/
