Gwen Tuinman

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Women’s History Month: Media Stereotypes Defied

Millions of women have shaped our world, but there’s limited representation of them in historical archives. These invisible women—who span differing ethnicities, regional economies, social statuses and age groups—have been reduced to passive bystanders in society.

In the essay collection The Western Women, one researcher describes how historical women been painted over with three stereotypes popularized through movies and novels. Since March is Women’s History Month, let’s look at women who defy each stereotype.

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On Diaries: Now and Then

My earliest diary memory is the sort popular on the birthday party circuit of my childhood. I never received one as a gift, but I remember looking with envy at those pink puffy covered diaries and their zippered closures. Little girls I knew flashed their miniature padlocks and keys like symbols of their importance.

I attempted a diary on looseleaf paper when I was young. But at the ripe old age of 11, my life was uneventful. My thoughts were all I owned and even then, I felt the risk of committing them to paper.

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On Writing: Our Books as Shields

A recent movie version of Cyrano de Bergerac has me thinking about fiction authors releasing their thoughts into the world. Through love letters Cyrano writes to the lovely Roxane, on behalf of a young soldier wooing her, he expresses love for her that he’s too bashful to share directly.

Most writers, safe to say, are introverts with rich interior lives. We quietly curate personal experiences and observe human interactions and reactions. We compost, in our subconscious, scenarios both jarring and tender, impulsive and conservative. When we then write the interiority of a character or their response to crisis or great love, some of ‘us’ muddles in there too.

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Early Settlers and Milling Grain

I’ve always imagined the hardships our earliest settler families might list would include isolation, lack of survival skills, or illness. Upon arriving in Upper Canada, Loyalist settlers were promised a three-year supply of food by the government. One of their greatest challenges was getting their grain allotment ground into flour.

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On Writing to the Last Chapter

Maintaining focus for the duration of a novel is a lot like running a long distance. If you think you can, you can. A painter friend once told me that when they worked on a piece for over a month, boredom would set in. How did I stick with writing the same novel for two or three years?

The word compulsion leapt to mind. I’ve since distilled where that answer came from.

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Fire Under the Harvest Moon

Since living in the country, my husband and I have come to enjoy the night sky. Without the glow of urban lighting cast upward, we have a clear view of stars and constellations. Where we live, when the sun goes down, darkness is thorough and restful. The only light is that of a full moon of which we enjoy a glorious view.

October’s full moon is given the name Hunter’s Moon. On such nights, according to the Farmer’s Almanac, people historically gathered meat to sustain their families over the harsh winter months when game would be harder to come by.

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Women Grieving: Victorian and Edwardian Mourning Rules

I’ve been researching death and grieving in the early 1900s to inform the novel I’m currently writing. Death was no stranger. An article published by Berkley University, tells that just years earlier in 1830s London, England, life expectancy of middle to upper class males was 45 years. Tradesmen generally lived until 25 years, and labourers until 22 years. In working class families, 57% of children died by the age of five. With the prevalence of deaths, rituals shaped by grief helped mourners to cope with their losses.

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On Writing a Personal Essay

When writing a personal essay, I lean toward overwriting. The first draft is for me and subsequent drafts are for the dear reader. Once the excess is simmered off, the resulting flavour is more intense. It’s tempting to pour in every memory levied and fact gleaned from research rabbit holes. Alas, I’m kept in check by a desire to serve the essay and by publication wordcount requirements. Some personal details and research remain on the cutting room floor.

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Where Stories Live

Nothing kills story innovation faster than our inner critic. It’s counterintuitive, but when writing drafts, we need to turn our brains off. When we work from our conscious mind, the ego takes over. What a poor sentence! That character should be more likable. Does this even resemble a book page. Our writing choices become predictable and guarded. The inner editor pulls us away from the magic.

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