by Wendy Hawkin | Jul 25, 2018 | history, journal, travel, writing and publishing
As I’ve said before the best research is hands-on. That way, you can indulge your senses.
Last Saturday, we enjoyed a day cruise from Gold River (on Vancouver Island, British Columbia) to Yuquot at Friendly Cove. This is Nuu-chah-nulth traditional territory. The term, Nuu-chah-nulth means “all along the mountains” and refers to sixteen tribes from Alaska to Washington state that speak different dialects, but collectively are sea-faring people.
Uchuck means healing waters. “The Uchuck III can move along at twelve knots, and carry up to 100 day-passengers and 70 tons of general cargo including three or four cars” (Get West.) We watched from the upper deck as the crew loaded supplies using a crane for the folks at Yuquot. This included a new red ATV that was immediately put to work when we arrived. When we were underway at last, the two-hour cruise took us through Muchalaht Channel past controversial fish farms and logging swaths, around Bligh Island (named for a young Captain Bligh of Bounty fame), and through Cook Channel into Friendly Cove.
It was a perfect day of sun and fair breezes and the calm waters certainly felt healing. The captain said that humpback whales often come into Muchalaht Channel. All around Nootka Sound, salmon fishermen were hoisting their catch to show off their prizes.
In 2014, I lived at the Nootka Light Station for two months, while working as a relief lighthouse keeper. Although it was a short stint, catching sight of the white and red Coastguard buildings felt like coming home. We had three hours to explore the Yuquot site, which includes an amazing pebble beach, a portion of the Nootka Trail that leads past a graveyard and rentable cabins at Jewitt Lake, the old church which has now been reclaimed by the Indigenous community as a cultural centre, and of course, the light station.
But I am setting a murder mystery here, so was most interested in locations where one might kill someone without being seen and hide something precious. This landscape is not new to killing.
In 1788, Maquinna (the Mowachacht chief) sent his people aboard The Boston to repay many insults—including the murder of his brother-in-law—by European sailors. The entire crew was murdered and decapitated except for the blacksmith John Jewitt, and the sailmaker who hid below. Maquinna needed Jewitt’s skills so kept him alive, and Jewitt convinced Maquinna that the sailmaker was his father. Jewitt lived three years as part of Maquinna’s family, wrote his story on the dead captain’s paper, and eventually returned to Boston where it was published.
The long pier was teaming with people as the Mowachaht/Muchalaht community was holding their annual Spirit Summerfest campout in the grassy area near the church and many friends and relatives had come out aboard the Uchuck III to visit. There was also a celebration in the church as this year marked the 240thAnniversary of Captain James Cook’s arrival at Nootka Sound.
As the story goes, Cook arrived in what he first called King George’s Sound in the spring of 1778 with the Resolution and Discovery. Making the usual European blunder, he named the people and the place based on his suppositions. The Indigenous people—who’d been living here for thousands of years—called out and told the captain to go around to avoid the reefs. More precisely, it happened like this:
“Captain Cook’s men, asking by signs what the port was called, made for them a sign with their hand, forming a circle and then dissolving it, to which the natives responded ‘Nutka’. No.tkak or no.txak means “circular, spherical” (Sapir and Swadesh 1939:276) in The Whaling People.
Though the village was teaming with people, Cook claimed the land for Britain. The British soon called all the people there, the Nootka, though there were 1500 Mowachacht people living in villages in the area. Yuquot was the summer home of Maquinna’s people and they wintered down the channel in Tahsis. The Mowachacht—“people of the deer”—began a lucrative (especially for the British) trade in sea otter pelts.
Captain Cook’s claim on Yuquot set the stage for later conflicts between the Indigenous people as well as the Spanish, who built Fort San Miguel on the rocks beside the lighthouse. Sadly, within forty years, the sea otter disappeared. Fortunately, they are now back in the area. I remember seeing them playing near the pier when I lived there. This charming sea otter photograph was taken by my friend Ivan Dubinsky, principal keeper at Scarlett Point Lightstation north of Port Hardy.
On our return voyage, we sailed through the more turbulent waters of Zuchiarte Channel. I went up to the wheelhouse to ask about the ship, but Captain Adrien said that he’d only answer my questions if I took a turn at the wheel. So, under his direction, I steered the Uchuck III through King’s Passage.
The wheelhouse is beautiful and it was a thrill to turn the wheel two spokes starboard and then back to port to straighten her out while keeping my eyes on the bow.
The fabulous photo below was taken by Low Light Mike, August 28, 2010. One of the crew had just polished the engine-telegraph (to the left of the wheel) a piece from BCCS’s Princess Victoria,a River Clyde vessel that sailed around Cape Horn in 1904.
We arrived back in Gold River at 5:30pm. It was a long glorious day, and I recommend taking a voyage aboard the Uchuck III so you can get a taste of history firsthand. For more photographs, cruise and booking information, check out Get West. Below is a site map of Yuquot and a directional map to Gold River.
All maps Friendly Cove and Map to Gold River
by Wendy Hawkin | Jul 19, 2018 | history, journal, writing and publishing
The weathered church that stands today in Friendly Cove was erected in 1956, for the purposes of “educating” the people of Yuquot. In the vestibule, old plaques and photographs are displayed, memories and keys to the significance of this place. One article in particular captured my attention. It tells a familiar story; one of loss, and betrayal, and exploitation.
In 1904, the entire Nootka Whalers’ Washing House, a 5×6 metre building, plus its contents was “purchased” from two elders and spirited away under cover of night. It was whaling season, and most of the community was off at work. A shady deal, no doubt, that the whalers would have objected to had they known. George Hunt, working under the famous anthropologist, Franz Boas, orchestrated the deal, which reportedly gained two men $500.00 but lost a community something sacred and precious. It ended up in the American Museum in New York, and has stayed there, in the basement, for the past century. This is an image of the contents:
What follows is a partial transcript of a framed article hanging inside the church. “Reviving Dark Forces” was written by Mark Hume and published in the Vancouver Sun, Saturday, May 25, 1991.
The shrine includes 60 carved human figures, 25 human skulls and two wooden whales. Native legend says the prayers and rituals practised by shamans gave hunters the magic they needed to find whales; it also made the sea send dead whales to the beaches around Nootka Sound.
What the magic was, and how it worked, may be beyond comprehension today, but Inglis says that looking on the faces of the shrine it is easy to believe it once had immense power. [At the time of writing, Richard Inglis was Head of Anthropology at the Royal BC Museum in Victoria.]
The people of Nootka Island who used the shrine believe it still has that power. One of the native concerns now under discussion is whether such dark forces should ever be brought into the open again.
“It’s incredibly powerful stuff,” says Inglis of the magic attributed to the shrine.
“One of the issues is whether you want to bring that power out again.”
The shrine, a magic house that was considered “a great treasure” of the Nootka people, was in continual use for 300 years before it was collected by the American Museum in 1904.
Generations of Nootka whalers performed rituals at the shrine which at times drew its black magic from human sacrifice and grave robbing.
Inglis, who has been researching the monument for several years, says the native community has mixed emotions about the shrine.
Some want it returned to Yuquot, to be shown in a museum or cultural centre. Others think it should never be put on public display again.
European mariners turned whale hunting into a deadly, highly mechanized science that brought world populations to the verge of extinction. But in the native world, during the shrine’s centuries of power, killing whales was a dangerous job that required the help of spirits.
Anthropologists say the Nootka developed the most spectacular sea hunting techniques on the entire Pacific coast. Travelling in large, ocean-going canoes, they killed whales with harpoons that had cutting heads made of mussel shells; sealskin buoys were connected to long lines made from animal sinew.
The techniques for hunting—and the magic—were cherished family secrets passed down from chiefs to their sons. In addition to the hunters, the Nootka had whale-ritualists, shamans so powerful it was said they didn’t have to hunt whales at sea, but magically drew to shore those that had died from natural causes.
Tsaxwasap,a man with great shamanistic powers, was one of those who first used the shrine. He intensified the power of the magic house by bringing dead bodies to it, and live infants stolen from their mothers. When Tsaxwasap inherited the shrine it had only four human skulls.
In her book, From the Land of the Totem Poles, Aldona Jonaltis, of the American Museum, says Tsaxwasap kidnapped infants and robbed graves to build the shrine’s power.
“He began removing from graves the skulls of men who had been long dead and then placed 40 skulls on the right-hand side of the shrine, 40 skulls on the left-hand side, eight skulls atop sticks on the right side, eight skulls atop sticks on the left, and four in front of the house to serve as watchmen. Then Tsaxwasap found 12 dried up corpses of people and placed them in two rows in the centre of the structure facing the door. After this, he kidnapped 120 more infants and placed them, in their cradles, in his house. This magical house served its purpose well, for many, many whales came to Tsaxwasap.”
The shrine, which dates back to 1700 and could be much older, was used by at least eight generations of whale ritualists. After the third generation of use, wooden figures were substituted for human skeletons.
There were only 14 skulls at the site when it was collected in 1904.
The wooden figures appear in the photograph above. I suspect the 25 human skulls may be all that remains of the crew of
The Boston, killed by Maquinna’s warriors in 1803, but who knows? Friendly Cove was once the most important point of anchorage on the Northwest Coast.
As far as I know, the items in question are still housed in the American Museum. An
article in the Vancouver Sun, April 2013, states that the museum has tentatively agreed to repatriate the shrine. One challenge is financial; moreover, what should the community do with the shrine once it is returned? This is a complex issue. The Nuu-chah-nulth people hope to build a Cultural Centre here, but to do so takes a great deal of money. Also, the cove is only accessible by boat or floatplane. Still, it makes no sense to me that this powerful, sacred treasure should be crammed in the basement of a New York museum. What do you think?
by Wendy Hawkin | Jul 19, 2018 | journal, travel, writing and publishing
Hands-on research is the best way to begin a book. It’s real. It’s kinaesthetic. It’s inspiring. And it will help you discover whether what’s in your mind will work logistically, and on the page.
I visited Saltspring Island seven years ago and loved the energy, beauty, and people here. So when I decided to set a new book on the West Coast, this island began to flicker. I’ve been here now for almost twelve days, walking the beaches, talking to people, going to markets, and scene-searching. It’s like being a director. You have to decide where specific scenes will be set. Among the things I’ve discovered are these:
The House: (Refuge)
In my mind, I saw an old family home on the northwest side of the island, with a large porch, lots of natural wood, board and batten, cedar-shaked, surrounded by pine and arbutus trees. It looks something like this and fits well with the history and culture of this island. But, I also wanted it to overlook the sea and have a dock where one of the characters could keep his fishing boat. The other day, after much beach ambling, I found one similar enough to work for me and make it viable.
Another one of the key characters is a potter, so Refuge will have a summer-kitchen/pottery studio. Yesterday, I visited a potter on the island and she showed me her kilns, her wheel, and we talked a little bit about the process of making pottery. I also bought two exquisite pieces. My potter is also a yoga teacher. The Saltspring Centre for Yoga is known for its teacher-training programs and retreats—I came to one several years ago. This character’s pottery business is called Dharma Designs and revolves around her beliefs as a yogini. The name Refuge describes The House well, as the main character, Gracelyn Lassiter, will leave her place of refuge to travel into the past and the unknown.
The Cemetery
As I said, sometimes you think something will work but when you actually see it and walk it, you realize it’s all wrong. When I first came here, I wanted to set the first scene in an old Anglican Cemetery. I researched churches and cemeteries and visited two. Neither felt right. Neither had cemeteries where someone could be buried in 2017. And then I realized that the person who died wouldn’t choose an Anglican Cemetery anyway. Walking through the graves I understood that this character was a very different man than who I thought he was. He began to take form. To speak for himself.
What Have I Accomplished Here?
I don’t want to say too much, as things change between the musing and the actual writing and then again during revision. But, these are some of the things that have come to light while I’ve been working here:
- Names and descriptions of most of the major characters
- Backstory (names, dates, and connections) for the major characters along with the emotional wounds that drive them—thanks to The Emotional Wound Thesaurus for help with this. Most of this never shows up in the story but it’s vital for the writer to know.
- How my character lives in her Ordinary World before tragedy strikes and she must venture out on her journey.
- The first few scenes: where they are set, what happens, and why (cause and effect)
I’m wondering if I should call the island Saltspring or perhaps make it a fictional place and call it, say, Pepperpot Island. Personally, I like to read about real places that I can visit. But, what do you think?
See Ya Later, Saltspring!
What Now?
Tomorrow, I’m off to Vancouver Island to revisit the lighthouse at Yuquot/Friendly Cove where I stayed for two months in 2014. This is where Gracelyn must go to unravel her mystery. So, I will tread in her footsteps because that is where the magic happens.
by Wendy Hawkin | Jul 7, 2018 | journal, nature, travel
I tend to live in seven-year-cycles. So, it’s no surprise that I’m returning to Saltspring Island this summer to research a new book. My dream dog, Puddy, came with me last time. It was his last trip. Puddy loved to travel, especially aboard the ferries. This summer, I’ll be taking Skaha along. Puddy was eleven—Skaha is ten-months-old.
Saltspring is the largest of the Gulf Islands in the Salish Sea. An artist’s haven, with an agricultural and environmental legacy, it is wildly beautiful and inspiring. Memories of 2011 below. What awaits us in 2018? I can’t wait to find out.
Sweet smokes seeps from your mouth to mine
Filling me, willing me, to come, with you
Shaman farmer crafter chef poet eco-warrior
I want to know you; grow with you
Dirty my fingers in fecund folds
Drop seeds, bulbs, words, deep in sea-rich soil
Then wait through sun and wind and rain
Gestating magic cradled by leathered hands
You are man and woman, yin and yang, androgynous lover
Mesmerized by diamond shrouded seas, sun-kissed hair blowing free
My flesh accepts your strong and briny light, your long and silent night
Braid my hair with gems and blossoms, bound fast with vines
Amber, sapphire, scarlet, peach, cobalt, pearly white
Scrape my skin with black slate stones transfusing flesh and blood
And when rootless I dance off, leaving only my bare footprint in your sand
Fill it with Byzantine light, a beacon to lure me back.
by Wendy Hawkin | May 23, 2018 | journal, writing and publishing
For several years, I taught English in high school. I’m not a short story writer, though I did write one for a contest last year. I like a larger canvas that I can sink inside. But, what follows is one of the lessons I used to share with my students on how to write a short story. Much of it came from my own amazing high school English teacher, Regan Devine. Is that a great name for a character or what? He’s real and here he is.
How to Write a Short Story
Writing is a craft. Like most crafts it looks easy, but in reality it requires hard work and practice. Manifestos are written on the subject. This is just a wee primer to get you started.
The Bones: A particular character in a particular place at a particular time is beset with a problem or conflict that he or she must resolve. Keep it simple: essential characters (no more than three) in a single setting over a short span of time. Here’s some sage advice:
o Put a man up a tree
o Give him a problem or maybe several, each one worse than the last
o Help him find a way down
Structure: Beginning, Middle, End
I. Beginning
Start with a situation: a man is in a tree. Do not give backstory unless it is necessary. Use a narrative hook. Make your reader ask question(s). How did he get up there? Will he get down? How?
Start as close to the inciting incident (first crisis) as you can. This incident or problem shakes him out of his ordinary world. Problems/conflict can result from nature/environment, humans, or something in his own mind.
II. Middle/Main Conflict
The man struggles as you build tension and suspense by “raising the stakes”. If he succeeds in solving one problem, give him a worse one. Someone is throwing stones, threatening him, or shooting at him, a wild animal waits at the foot of the tree, a tsunami is on the horizon, a hurricane is blowing all around him, he is injured, he is starving to death, he must get down by a certain time or his friend or lover or kids will die. Allow the character a moment to rest and reflect in between crises. Build to a climax.
III. End/Resolution
He gets down, saves himself or whoever was in danger (resolves his problem) and has somehow changed. Or maybe he doesn’t get down and dies trying. Some stories have unhappy endings.
Everything Else
Central Theme or Guiding Light: You must have a reason or point for telling this story, a message or thread of meaning that runs through from beginning to end. Stick to it.
Characterization: Make your reader care about what happens to your character. Reveal one key characteristic in your main character and challenge or change it via conflict. Subtly show this characteristic, rather than tell it. Character is revealed through action (how he acts and reacts), tone and attitude (how he thinks about things), language and imagery (how he speaks).
Point-of-View: You can either write in first person (I came, I saw, I conquered) or in third person limited omniscient (she came, she saw, she turned around and left). The trick with viewpoints is to remember that your character only knows certain things, and we see only through his eyes. You, the writer, know much more. Let your character discover and show things through his actions. Don’t give information your character would not know. Also, only write in one viewpoint, don’t shift.
Pacing: short sentences and paragraphs create speed for fast paced stories. Longer wordy sentences slow things down for a breath of reflection.
Vivid Imagery: Paint a vivid picture by appealing to the five senses. What does the character see, smell, hear, taste, and touch? You want to bring your reader into the non-ordinary world of the character.
Words: Use precise, concrete, accurate detail. Do not use passive boring verbs like: is, was, has, get, take, watch, went. Use particular verbs to convey action and attitude. Avoid using adverbs (anything ending in ly). Instead of “she walked slowly” say “she ambled” or “she strolled” or “she staggered”. This is the time to use your thesaurus sparingly.
Dialogue: There are rules.
o Every time you have a new speaker begin a new paragraph.
o Enclose everything the speaker says in quotation marks.
o Use dialect and grammar to reveal character.
o Break up dialect with bits of action.
o Where the quotation is interrupted by some action or to identify a speaker, do it at a natural pause and enclose each part. “I won’t go,” Jesse said, “unless you go with me.”
o If a quotation extends for more than one paragraph do not close it at the end of the first paragraph, but open the next with quotation marks.
o Put the comma, period, question mark, or em dashes INSIDE quotation marks.
o Use an em dash (two dashes—) when the speaker is interrupted or cut off
o Put colons, semi-colons OUTSIDE quotation marks.
“Sorcha?”
“Yeah. Who’s this?”
“It’s me.”
“Mitch? Why are you whispering? Are you okay? What’s that noise?”
“Look, I need help. I’m stuck up a tree and—”
“How’d you—?”
“Will you just listen?” I hissed. I knew I should have called John, even if Sorcha was my new girlfriend. “Look. I climbed up a tree at the Hellerman place to rescue my mother’s stupid kitten but I can’t get down.”
“Sorry? What did you say? I’m just doing my nails and I dropped my phone.”
I began again. “I climbed up—”
The growling escalated as the dogs clawed hunks of bark from the tree trunk below me.
“Mitch? What’s happening? What’s that noise? Where are you?”
“Dobermans … mean Dobermans.” I heard nothing—no reaction. “Sorcha? Are you there?” I stared at the black screen on my cell phone. “Damn,” I growled, and hurled it at the dogs.
Topics:
“I don’t know what to write about. My life is boring. I’ve got nothing to say.” This is a common block for writers. The truth is, you have scads of stuff to write about. Our lives are composed of interwoven stories. Some people say write what you know. (That’s a cliche, by the way.) Sometimes this works, but you can also write what you don’t know—what you can only imagine. This is the beauty of Fiction and what Imagination is for. We read and write to leave our ordinary world along with the character, to go to exotic locales and experience through story things we never could in reality. I say: write what intrigues you.
Write about places you’re curious about. Create quirky characters and drop them into unusual situations. Ultimately, we humans have similar wants and needs—love, friendship, comfort, safety, joy, adventure, and to go home in the end.
Finally, write in a genre you love to read. If you’re into science fiction, fantasy, romance, drama, mystery, history, write a story of that type. If you’re hooked on your story, chances are other people will be too.
Revision: To Look Again
o Type your story.
o Run a spelling and grammar check.
o Do a general edit for rhythm, pacing, and errors. When you do this read your story out loud. Have someone else read your story out loud.
o Then complete a line-by-line edit where you weed out: adverbs, clichés, errors, repeating images or actions, too much dialogue or description.
by Wendy Hawkin | May 9, 2018 | journal, writing and publishing
Indie publishing is an adventure. It also comes with a steep learning curve and can cause all manner of frustration and back-aches as you sit at the computer for hours cursing and sighing, and occasionally cheering when you finally get something right. I’ve become tenacious about publishing and I crowed last night when I finally got it.
One of the tasks that seems to give Indie authors the most trouble is preparing a finished manuscript for upload to the distributer (CreateSpace, IngramSpark, etc). I don’t usually publish how-to posts, but as I’ve been learning, I’ve encountered so many people having the same issues, I thought I’d try and simplify the process with a few key moves.
First of all, this is for writers using a Mac. The basic question I googled the past few days was this: how do I save a pdf copy in book size on a Mac? This is what I figured out after reading a zillion threads written by frustrated Mac users. I discovered that Macs are built to do this, so you don’t need to buy Acrobat software. You just need to know how to do it.
A Word About Formatting Ebooks
Ebooks and print books need two completely different formats. Kindle Direct Publishing provides an excellent guide for formatting and uploading your ebook to Amazon. Just follow along and you’ll be successful. (Although one glitch I have discovered is that when you use a Mac, you have to save the final Word doc as a Web Page, Filtered in order to get an HTML file for upload. Otherwise, any photos don’t appear when you proof it online.) Another format you might need to upload is e-pub for Kobo, I-books, etc.) I publish through IngramSpark so I upload the e-pub version on their site. You can download Calibre for free (thanks Sionnach for this tip) and convert several formats in a snap. But print books are a whole different process.
Formatting Print Books
So. Print books. First of all, the formatting is different. You want your book to be visually appealing, error-free, and set up professionally using Word styles. You have to pay every time you upload a new edition to IngramSpark, so try to get it right. There are a couple of ways around this. Join ALLi (Alliance of Indie Publishers) and get their coupon code or wait for one of Ingram Spark’s free offers. Right now, they’re offering free revisions until May 31 and a new title upload for free until June 30.
I’m preparing to release the Hollystone Mysteries as a trilogy within the next year, so I’m setting up my own formatting guide using Word styles so they’re all consistent. The last few weeks, I’ve been re-editing book two. I decided to change the book size from 6″ x 9″ to 5.5″ x 8.5″ because I thought it might look and feel better. After editing and formatting, it grew from 276 pages to 310 pages and that meant the trim size would be off for my existing cover. My cover designer, Kat McCarthy at Aeternum Designs, graciously resized the cover for me. Thanks Kat. It took a lot of finagling to get the most white space as possible without going over those 310 pages. Last night I was still playing with this—even changing words here and there to make it fit. As I said…OCD.
When I thought I had it perfect, I drove down to Staples with my Word file on a flash drive because they said they could convert it to the size I needed in a couple of minutes. However, once it was up on their screen, my fancy font that matches my cover (Celtic Garamond Pro) didn’t show up. I’d used it for the title page, drop caps, and headings, so I was ready to scream! “Bring us a PDF and we can re-size it for you no problem,” she said. So I drove home and hunkered down at the desk again. While I was giving it one more appraisal, I noticed that on page 6 the scene break icon and the page number were not centred correctly. NO!! I discovered that the footer style was set to “normal” which meant it had a .25 indent and that was throwing off the centring. I fixed that and played with the white space some more. Then I put it up on the big screen.
Suddenly, I noticed that the first four pages (section 1) were actually appearing in book-size; whereas the rest of the book was still showing with the text in book-size but on 8.5″ x 11″ paper. This is the problem people are screaming about on the threads. So I went back in and tried one last time. Hallelujah! This, in three steps, is what I discovered over the last three days.
How to Save a Book-sized PDF on a MAC
- Go to File—Page Setup. Set the desired size (5.5 x 8.5) formatted for any printer. Make sure everything in Word is perfect. Check all styles to be sure everything is centred correctly. Check paragraph format—watch for first line indents that need to be removed that will affect the centring).
- Go to top screen menu: Format—Document. Check all margins and “apply to whole document”— If just “this section” is ticked, it won’t work. (This was the clincher!) And you have to do this every time because it defaults. Even making this demo pdf of my first chapter, I found errors and had to resize the doc.
- Go to File—Print and in the bottom left click on “pdf” and choose “save to pdf”
This should save the document in the book size you require and look exactly like the interior of your book.
Good luck on your Indie publishing journey. If you get stuck or have any questions, contact me or leave a comment and I’ll try to help you as best I can.
with all good wishes, ~Wendy
P.S. After all that, when I tried to upload the new file size to Ingram-Spark they said it was too big for a revision and I’d have to upload it as a new title. Argh! Consequently, I went back to the original cover. My books are now all 6×9!
