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If you’ve ever wondered whether that wild, complicated story in your family could become a novel, this episode is for you.

I’m joined by award-winning author Barbara Sibbald, whose latest book, Almost English, began as a family legend, became a genealogy project, then tried to be creative nonfiction—before finally settling into the form it needed all along: a historical novel.

Barbara’s great-grandparents lived in Quetta, on the Northwest Frontier of British India (now Pakistan) between 1885 and 1912. Growing up, she’d heard half-true tales about an Indian princess and a pet elephant, but it wasn’t until her mother spent nearly two decades compiling a detailed family genealogy—and shared boxes of letters and photographs—that the real story came into focus.

In this conversation, Barbara walks us through how she turned that wealth of material into fiction, while still honouring the lives at the heart of it. We talk about:

• How her mother’s meticulous genealogy and bundles of family letters sparked the idea for Almost English
• Why the story first appeared to be creative nonfiction—and what made Barbara realize it actually had to be a novel
• The moment she understood she needed access to her characters’ inner lives, thoughts, and conversations, and why that pushed her toward fiction
• The central question that finally unlocked the book:
  How could her great-grandfather, Stephen Turner, a quarter Indian man, ever be accepted into the racist power structure of the Raj?
• How Barbara used that central question as a compass for cutting thousands of words and tightening the narrative
• The research she did into the Raj, the Durand Line, household life, women’s work, and even period undergarments (!), to bring the world to life
• Her use of real letters versus invented ones, and how both helped her build an emotionally resonant narrative

We also talk about the book’s unusual structure. In addition to the main historical storyline, Barbara includes short nonfiction pieces she calls “interstices”, where she reflects on her own search for belonging as the child of an itinerant military family—and how that parallels her great-grandparents’ experience.

That blending of historical fiction, biography, and autobiography made the book hard to categorize—and hard to sell. Barbara shares candidly about the seven drafts, nearly three years of querying, and 48 approaches to publishers before the book was finally acquired by Bayeux Arts in Canada, and then by Vishwakarma Publications in India.

If you’ve ever struggled to decide whether your story should be memoir, creative nonfiction, or a novel, you’ll find so much reassurance and practical insight in Barbara’s journey with Almost English.

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Welcome to another episode of The Resilient Writers Radio Show!

My podcast editor is in sick leave this week, so thanks for your understanding with this unedited episode. 🥰

The stretch from Thanksgiving through New Year's can feel like a creative black hole for writers. Between holiday preparations, family gatherings, and end-of-year obligations, that precious writing time often disappears completely. In this episode, I offer a powerful mindset shift to help you protect your writing practice during the busiest season of the year.

The reality many writers face is stark: you enter the holidays hoping to finish a chapter, complete a draft, or prepare your manuscript for querying in the new year. Instead, six weeks vanish, and by early January you wake up exhausted, guilty about not writing, and disconnected from your project. When you've been away from your manuscript that long, the characters feel distant, the plot grows hazy, and climbing back into a consistent writing rhythm becomes another mountain to scale.

The goal isn't to write a novel in December—it's to stay connected to your creative identity and maintain momentum.

Whether you choose to take a guilt-free break or carve out intentional writing time, the choice should be yours, made consciously rather than surrendered by default to holiday overwhelm.

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If you’ve ever felt like your novel is taking far too long—or wondered whether you can keep writing through big life challenges—this conversation with novelist Melanie Schnell will speak straight to your writer heart.

Melanie is the author of While the Sun is Above Us, which won both the Saskatchewan First Book Award and the City of Regina Award and has been part of the ELA A30 curriculum in Saskatchewan schools.

Her new novel, The Chorus Beneath Our Feet, began with a single, vivid image: two women standing on a tree branch in the middle of a violent storm. That image stayed with her for 15 years, slowly growing into a story about siblings, war, grief, and everything that lies hidden beneath our feet—and beneath our lives.

In this episode, Melanie shares how that first image evolved into the fictional city of Ravenswood, a Regina-inspired setting anchored by a central tree. She talks about how research into unmarked graves at the Regina Indian Industrial School, the Truth and Reconciliation Commission, mass graves in Ireland, and the history of the British Home Children all fed into the novel’s themes of buried histories, family bonds, and unseen networks—like fungi and tree roots—running under the surface.

We also dig into her unforgettable characters. Jes, a grief-stricken soldier returning from Afghanistan with his best friend’s body, and Mary, his ethereal, elusive sister, form the emotional core of the book.

Melanie describes the challenge of getting Jes’s voice right, balancing his trauma and anger with real vulnerability, and how early reader feedback helped her deepen both siblings until they felt fully alive on the page.

Melanie is candid about what it took to finish this novel over 15 years while raising her son as a single mother, navigating a demanding academic career, and living with chronic illness.

She talks about losing the ability to read and write for stretches of time, the frustration of feeling like the book was always moving ahead without her, and the moment an editor helped her finally “see” what the story needed structurally—especially around Mary’s voice and the ending.

If you’re a writer living with chronic illness or other big life constraints, Melanie offers gentle, hard-won encouragement: you are not your illness, and your story is coming from a central, lit-up place inside you that doesn’t disappear, even when you can’t reach it every day.

If you’ve been wondering whether it “still counts” if your book is taking years to finish, I think this conversation with Melanie will remind you that deep work takes the time it takes—and that the story is still there, waiting, even when you have to step away.

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If you’ve ever wondered whether self-publishing is “worth it,” or felt overwhelmed by all the moving parts—editing, design, distribution, marketing—this episode is for you.

I’m joined by Leanne Janzen of FriesenPress, the author-services arm of Friesens Corporation, a century-old Canadian printer trusted by traditional publishers and indie authors alike.

Leanne has worn multiple hats—from publishing specialist to leading a sales team—and she’s passionate about demystifying today’s publishing landscape so writers can make informed, confident choices.

We start by clearing up an old term—“vanity publishing.” In 2025, it’s out of date. Leanne breaks the indie space into two practical paths: DIY self-publishing and service-provider self-publishing.

With DIY, you’re the project manager: you learn what you can, hire freelancers (editor, formatter, cover designer), and quarterback the whole timeline. It can be empowering—but also time-intensive and overwhelming, especially for first-timers. With a reputable service provider, you still retain creative control (yes, you can reject a cover or choose your price!), but you also get a dedicated project manager, pre-vetted editors and designers, and quality checks at each stage so you don’t miss critical steps.

We dig into costs and transparency. Expect a range: a basic path without editing at FriesenPress sits around $2,200, while a premium, all-in “masterpiece” path (specialty cover, three rounds of editing, promo coaching, social planning, promos) can reach $15,000.

Industry-wide, a commonly cited average to produce a quality book is $5–6K—and if you’re spending in that zone with a service provider, Leanne says at least one round of editing should be included.

👉 The big lesson: clear pricing pages, plain-English agreements, and upfront explanations of scope matter. If a company won’t share a contract before you pay—red flag.

Leanne also flags common author pitfalls: designing files before checking trim sizes and distributor specs; assuming one print file fits all platforms; and underestimating the time cost when you try to save cash. Her advice: if you’ll eventually want help with distribution, talk to potential partners early and get their external design specs before you commission files.

We also touch on resources and funding. FriesenPress offers free guides (author’s publishing guide, crowdfunding, writing templates). Crowdfunding (think Kickstarter) can bridge the budget gap, and in Canada, arts councils and provincial/federal grants may help—worth exploring.

Finally, we clarify service provider vs. hybrid presses: they differ in distribution channels, royalty formulas, and sometimes rights. Read agreements carefully, especially around content ownership. And if your dream requires strong creative control (like a specific cover), indie publishing is often the better fit than traditional.

If you're looking for more information on self-publishing, grab one of these free guides from FriesenPress:

Author's Guide

Writing Guide

Crowdfunding Guide

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If you’ve ever wondered how a writer turns the messiness of lived experience into a story readers can’t put down, this conversation with Shani Mootoo will light you up.

Shani—novelist, poet, and visual artist—joins me to talk about her newest book, Starry Starry Night, a work that took root more than 35 years ago and slowly transformed from raw, private pages into a fiercely crafted novel.

Shani shares how, in her early years, she was primarily a visual artist and video maker with zero intention of writing. Still, she found herself “brooding,” jotting things down that troubled her. Those notes eventually turned into about 65 pages—never meant for public eyes—until a mentor quietly slipped them to a publisher.

What followed was a career of nine books (including one of my all-time favorites Cereus Blooms at Night!), poetry, awards, and the long apprenticeship required to write this book the way it needed to be written.

We talk about the slippery line people call “auto-fiction” and why that label can be too reductive. Shani describes the deliberate choice to keep the narrator’s point of view rooted in childhood—from ages four to twelve—without letting her adult intelligence step in to explain.

That decision demanded astonishing restraint: a child doesn’t analyze; she perceives, and those perceptions must carry the weight of the story. Shani also reflects on the power (and difficulty) of “becoming every character,” including the abuser in Cereus Blooms at Night, to portray complex human beings rather than one-note villains.

You’ll hear how attention to language—word choice, sentence placement, even a single comma—reshaped Shani’s understanding of the story over time. We touch on family, secrecy, memory, and the tender urge to honor the child we once were.

There’s a beautiful moment about her father’s final encouragement—“Don’t censor yourself”—and what that permission unlocked. We also talk about epigraphs, photographs (yes, there are real family photos in the book), and how visual art and writing cross-pollinate in her creative life.

If you care about voice, point of view, and truth-telling on the page, this episode is for you.

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If you’ve ever wondered how your personal history and lived experiences might shape the stories you write, this conversation with novelist and poet Bruce Hunter will move and inspire you.

Bruce joins Rhonda to talk about the re-release of his award-winning novel In the Bear’s House (Frontenac House, 2024)—a powerful story set in 1950s and ’60s Alberta about a young mother raising her deaf son, told through two unforgettable points of view.

Born in Calgary on Treaty Seven lands, Bruce was deafened as an infant and has lived with low vision most of his life. His path to becoming a writer was anything but ordinary: he worked as a laborer, equipment operator, and Zamboni driver before earning a poetry scholarship to the Banff School of Fine Arts, where he studied with W.O. Mitchell and Irving Layton.

In this heartfelt discussion, Bruce shares how his lived experience shaped both the mother and son in In the Bear’s House—and why empathy, patience, and craftsmanship matter more to him than speed.

He also opens up about the deep research that went into the novel, including his discovery of family connections with the Stoney Nakoda people and the true story of a friendship pipe that became a symbol of reconciliation.

Rhonda and Bruce talk about:

• Writing from multiple points of view and why he nearly abandoned the novel halfway through.
• How In the Bear’s House was translated into Italian before the English edition came out.
• The importance of place, memory, and sensory detail when writing about the Kootenay Plains.
• Balancing historical accuracy with emotional truth.
• The resilience it takes to stay creative across decades.

Bruce’s reflections on deafness, isolation, and finding one’s voice—both literally and artistically—make this a moving and unforgettable conversation.

Whether you’re deep in your first draft or revisiting work from years ago, this episode reminds us that storytelling is an act of endurance, curiosity, and care.

Links mentioned:

• In the Bear’s House by Bruce Hunter — Frontenac House (2024 edition)
• Bruce’s website.

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If you’ve ever ended a writing day with sore wrists, tight shoulders, and a brain that feels like mush, this conversation is for you.

In this episode, I’m joined by my friend Sarah Elisabeth Sawyer—author of 19 books and the creator of two signature programs: Fiction Writing: American Indians (for writing authentic stories that honor Native history and culture) and the Dictation Bootcamp for authors.

You may know Sarah from Joanna Penn’s The Creative Penn podcast, Jane Friedman’s blog, or Writer’s Digest. She’s generous, practical, and wildly encouraging about helping writers write more comfortably and consistently.

Sarah didn’t become a “natural” dictator overnight. In fact, she tried and failed multiple times—starting back in 2013 with Dragon Anywhere—before finding a simple routine that stuck.

The turning point? A kitchen-sink moment when a full backstory scene arrived in her head and she spoke it into her phone while doing the dishes. Twenty minutes later she had ~1,500 words that would have otherwise vanished. That one experiment led her to dictate an entire novel, and since then she’s dictated 14 books (11 already published, with more on the way). Her writing speed doubled, but more importantly, she built a healthier, more sustainable practice.

In this episode, you’ll hear about:

• Why dictation isn’t just about speed—it’s about sustainability, creativity, and capturing scenes before they disappear.
  
  
• Practical ways to dictate (curled up on the couch, during a morning routine, on a walk, or at your desk).
  
  
• How to start messy on purpose so your brain learns the new skill without shutting down.
  
  
• The three biggest beginner mistakes—and how to avoid them.

About the Dictation Bootcamp:
Sarah’s four-day Bootcamp is intentionally beginner-friendly. We start with a casual “pre-party,” then three days of step-by-step training. Day 1 is simply getting your existing device to work (no fancy setup required). Day 2 builds confidence with an easy, low-pressure exercise. Day 3 guides you into dictating your first scene of fiction.

There’s community support for device quirks (PC, Mac, Android, iPhone) and simple workflows into your writing software (e.g., Scrivener or Atticus). The goal isn’t to finish a novel in a weekend—it’s to lower the bar so you can take your first real steps.

Join Me!
I’m signing up for Sarah’s Dictation Bootcamp, and I’d love for you to come with me. Even if you decide it’s not your forever tool, you’ll finish knowing exactly how to make dictation work for your writing life. Click the link above and let’s try this together.

Send us a text! We'd love to hear your thoughts on the show.

Welcome back to another episode of The Resilient Writers Radio Show!

This week, I’m thrilled to introduce you to Aamir Hussain, whose debut novel Under the Full and Crescent Moon is officially out in the world.

This is no ordinary debut. It’s a speculative historical novel that asks a bold and fascinating question: Could there be a Muslim matriarchy—and what would that world look like?

The story follows Khadija, a young woman growing up in the imagined city of Madid al-Agham, where faith, politics, and the law intertwine. Over the course of 11 transformative months, Khadija becomes a mufti—a scholar and writer of fatwas. She’s pulled into debates, courtroom-style conflicts, and life-changing choices, all while negotiating family ties, mentorship, and an intellectual rival who challenges her beliefs and authority.

Aamir shares with us how this novel took root. Raised in Pakistan, Saudi Arabia, and later the Greater Toronto Area, he experienced different expressions of Islam firsthand.

After 9/11, he saw the faith misrepresented online—flattened into stereotypes. That disconnect led him to years of research into Islamic history and law, and eventually into the story that became Under the Full and Crescent Moon.

We talk about:
✨ The long road to this debut—from early prologue drafts in 2015 to a finished manuscript in 2022.
✨ Writing on Toronto’s TTC and GO Train during his daily commute.
✨ Balancing heavy research with a compelling narrative (and how his editor, Julia Kim, helped cut 40,000 words!).
✨ The challenge of writing a female protagonist with honesty and respect—and how early readers gave him confidence in Khadija’s voice.
✨ What it means to show, not tell, when weaving faith, politics, and history into fiction.

What struck me most in this conversation is Aamir’s hope for readers. For Muslim readers, he hopes Khadija’s world reflects the richness and diversity within their own communities. For non-Muslim readers, he hopes the book challenges stereotypes and sparks curiosity about the depth of Islamic history and interpretation.

More than anything, he wants readers to see that communities, like individuals, are varied, nuanced, and deeply human.

On publication day, Aamir admits to feeling a little overwhelmed—but grateful. He didn’t originally set out to be a writer, but the story insisted on being written. Now, he’s embracing the identity of “novelist” and looking ahead with humility. Will there be another book? Inshallah—God willing.

If you love novels that mix immersive worldbuilding with thought-provoking questions, you’re going to love this conversation—and you’re going to love Khadija.

Grab your copy of Under the Full and Crescent Moon and join us for a behind-the-scenes look at how it came to be.