Issue #2

JUNE 2026

Hello, my friends

“I wonder what it would be like to live in a world where it was always June.” -L.M. Montgomery

I can't believe it's finally June. The world has changed since I started digging into my final manuscript revision back in December. The sun is shining, and I'm no longer huddling under a weighted blanket, cursing my inability to describe an autumn fog in England. I feel like my hard work over the past few months has earned me the right to enjoy my summer, to walk in the woods without a timeline, to visit museums with no research agenda, and to chase fireflies like I did when I was seven. I want to embrace my inner child and remember why summer used to be so memorable, exciting, and wondrous. At the end of summer, I will be giving my inner child a special gift when I head to Prince Edward Island for a joint Fine Book Fair/Road to Avonlea Convention. Which is why I am officially declaring this summer my "Anne Shirley Summer," where I'll poetically revel in the beauty of shining waters and blooming flowers while pretending it will always be June.

Reflections

Now that my manuscript is complete, it's time for the next step: to put it out into the world on submission. That means querying agents and editors, hoping one of them appreciates my imaginary world and the characters I created within it, all the while checking my email a hundred times a day, even though I likely won't get a response from anyone for months, if at all. It's the waiting that's the hardest part. Longing for that "Yes." For someone to say, “Your work is good enough for us, please join us at our table. You have arrived.”

But what I've started to realize is that, at a certain age, you stop needing other people’s validation and approval. And the truth is, there are many paths to publication that don't require a "Yes" from the exalted on high.

Most writers long for the traditional route, the agent that gets them that deal with a Big Five publisher. Those are the majority of books you see crowding the shelves at the bookstore. Some writers prefer independent presses that allow them the creative freedom that comes with not feeling pressured to follow the latest publishing trends. Other writers decide to take their career into their own hands and self-publish.

The wonderful thing about the market right now is that all these paths are viable options for bringing art into the world, and choosing one over the other doesn't make anyone more or less of an author. Because our only validation as a writer is our readers, wherever we find them.

So, what’s the right path for me? I’m still trying to figure that out. I know that at the moment, I’d love to be at a smaller, independent press. I'm lucky to have a job that gives me a sense of purpose, provides financial stability, and allows me to pursue my passions. For me, going with a smaller press would feel like joining a supportive family where everyone rolls up their sleeves and celebrates each other's success as one. I also know the sorts of books I want to write, and don't want my creativity to be tied to the whim of what's trending on the NYT Bestseller List. This is a privileged stance to take, I know that. But in an era where AI-generated books are seeping into the market, it's as important as ever. Because creativity is always a risk, and I want people willing to take those risks to be the ones standing beside me on my journey.

Craft Corner

There is one element of writing that all authors seem to struggle with, and that's backstory. We create these worlds and characters in our minds and want our readers to know and love them as we do. Often, these characters have intricate backstories that develop, sometimes unbidden, as we write. These personal histories give our characters depth and justify their actions, decisions, and motivations.

The challenge is deciding just how much backstory to include to give our readers context without bogging them down in an unnecessary narrative. It's even more difficult when a side character emerges with a fascinating backstory that's only partially relevant to the plot.

I wish I had an easy answer, but I don't. Every writer needs to decide how much, or how little, backstory to include. Personally, I love character and world-building. It's something I feel is missing these days as we strive to appease short attention spans with an instant inciting incident that plunges us into the central conflict, allowing few detours along the narrative road as we rush to get to "The End" in less than 100,000 words.

However, I have come up with my own solution. I've decided to take one of my secondary characters who is key to the resolution of my main character's arc and give her a novella all her own. This will be my summer creative writing project. Not only will it teach me how to write a novella, but I also plan to self-publish it, a useful skill for any author. I'm looking forward to introducing you to the indomitable Phyllida Laurence of Bristol and Exeter, captain's wife and future shipping magnate. When you meet her again in The Oleander Message one day, you'll already be well-acquainted with her desire to make the world a better place for other women.

Journal Prompt

What was your most memorable summer as a child? What made it so special and what parts of it can you bring into your life today?