One Sunday afternoon each month, Descant volunteers, interns, co-editors and staff meet to read submissions and discuss the business of running a literary magazine. Sometimes people ask me about the kinds of people at these meetings (I know what they’re really asking is: what kind of people are judging my writing?!). There have been up to 30 of us at these meetings although generally it’s closer to 20. Some have degrees in English, though certainly not all. Some are interns, and come from a publishing program at Ryerson or York University. And some, like Jann Everard, come in off the street — Word On The Street, that is.
When we set up our tent for the annual event last fall, in Toronto, I grabbed a bunch of colourful flyers and started pacing our allotted 12 feet, looking for a friendly face to accost, in a literary manner. One of those faces turned out to be Jann’s and soon enough she and I and Michelle Alfano, now our Assistant-Editor-in-Chief (Administration), were chatting about writing and mutual friends and, of course, Descant. Jann came to our next launch and then editorial meeting and has come to each one since.
Jann Everard is well published — that is, she has been published often and in good places. She has had three essays published in The Globe and Mail, “Facts and Arguments,” she’s had short stories published in Grain and The Antigonish Review (this spring), as well as Room, The Fiddlehead, The Dalhousie Review, and at least a dozen other publications. In fact, reading her writing resumé could be considered a good introduction to Canadian journals! Here is just a selection of her publications.
Her answers to the following questions about being a writer are candid, useful and funny. While she admits in this interview that she struggles with getting to the page, in the eight months I’ve known her, I’ve come to regard Jann as a serious and dedicated writer. She is also, as other serious writers are, a great support to all her writing friends.
And of course, she’s a great addition to our Descant family.
When (or how) did you first know you wanted to write?
JE: I suspect that every avid reader has a moment when they are inspired to give writing a try. I took a break from employment to be with my kids when they were young so I tried my hand at writing children’s books first. I took a course with Sharon Jennings, author of some of the Franklin’s First Readers. All those early efforts still sit in my files. Children’s books are harder to write (and get published) than people think.
Can you tell us a little about your writing process?
JE: I don’t have much discipline. I don’t get up a 5:00 a.m. to write. I don’t write every day. I fit writing around the rest of my life. But years ago I went to a CANSCAIP event and the keynote speaker said something that resonated. I don’t remember her name but she had four young kids, a full-time job and had published five or more books. She said it was important for her to see herself as “a writer who is a mother” not “a mother who writes.” I still fall into the latter camp. But I see a time, very soon, when I will finally be a writer first.
What do you find easiest and hardest about the writing life?
JE: I didn’t start writing seriously until after a 14-year career in the Ontario Ministry of Health and a few years at home. I have an MHA, not an MFA. At work, I spent a lot of time writing briefing notes and policy papers. So I had a steep learning curve when it came to creative writing. I took some courses and went to workshops to help me get started but, for the most part, I learned through trial and error. It was hard to figure out who I was as a writer. After children’s writing, I explored travel writing and poetry. I sent a couple of personal essays to the Globe and Mail’s “Facts and Arguments” and they were accepted. So then I looked into creative nonfiction. It wasn’t until writer/editor Deb Loughead rejected a piece I’d submitted for an anthology, with a kind note suggesting I submit it to Room Magazine, that I started to look closely at the adult short story as a form. It took me a long time to get to that point. Others may be surer from the start.
The easiest part of being a writer? What’s better than sitting in the local pub listening to other writers read to you?
What do you know now that you wish your first teacher or mentor had told you, but didn’t?
I’m sure my early writing teachers told me everything I needed to know. But did I listen?
One of those early teachers was Sarah Selecky. I told Sarah I had trouble revising my work. So Sarah developed a course on Deep Revision. She was very gentle. We sat in her living room with soft lighting and herbal tea. She guided us through various techniques to help see our work with fresh eyes. At one point she suggested we cut our MS into pieces and physically rearrange it. I couldn’t do it. I was still in love with my imperfect draft. I wish she’d beaten me over the head and forced me to hack at it with scissors! I still find revision hard.
(Btw, Sarah has been offering much of that instruction free on her website as part of the run-up to her contest deadline.)
What are 3 things you think a new writer should know?
1) Your work will be rejected.
2) Your work will be rejected, even though it is good work.
3) You will rarely be given a reason why your work has been rejected.
Corollary: I can’t overemphasize the importance of finding a group of people who will provide constructive criticism. Treasure those people. Buy them drinks. Return the favour when they need feedback. Analyzing someone else’s work hones your own skills. It forces you to ask what’s working and what’s not working.
It’s also important to recognize that the kind of feedback you will need (or can give) will change and evolve with time. In my early career, all the people in my critique circle were women. I purposely sought out some male writers to help me later on. I needed to know that my male characters rang true. Some of my original writing friends are now working on, or finishing, novels. I feel less equipped to help them with structure, but I can still offer them copy editing.
What do you enjoy most about being a writer?
JE: Meeting other writers. They are a diverse and interesting group, for sure! I’ve made some close friends in writing classes. I obtained my current part-time job (totally unrelated to writing) through a connection I made in a writing class.
What is the thing that (negatively) surprised you most about being a writer?
JE: That what I spend on paper, ink, postage, journal subscriptions and books is always so much more than what I am paid as a writer. While I was flattered to discover recently that a college in NYC had used a story of mine in a workshop, I was disturbed to find out that 1) it was available to them online through an academic listserve without my knowledge, and 2) creators are not compensated when universities make these arrangements.
Have your parents ever read your stories and what do they think/say?
JE: They have read a few. By the time a story makes it to print, I’ve moved on. It seems anticlimactic and I’m not good at self-promotion. If it’s near Christmas, I’ll slip a journal with my writing into my father’s stocking. He has written several military history books and, at 87, is still a prodigious reader. He thinks my short stories lack proper endings.
What’s the longest you’ve waited to hear back from a magazine?
JE: Up to a year. I’ve also had stories rejected that I’d previously withdrawn. And one journal rejected the same story twice, even though I hadn’t resubmitted it. That felt harsh! But these moments have to be laughed off. Journals are often volunteer-run. We all make mistakes.
What’s your advice to new writers about handling rejection?
JE: Have lots of dark chocolate on hand. I mean lots.
Jann Everard is new to Twitter! You can find and follow @JannEverard.