Recently a rejected author commented, “I don’t understand what you’re looking for.” Subsequent to that, I learned this particular author wasn’t in the minority.

Allow me to elucidate from our submission guidelines:

Non-fiction:

All work must be solidly researched using primary references as a foundation.

Canadian history: this covers a broad spectrum, from stories of national significance to regional, from community to individual. For example,

• biographies of notable Canadians
• the quirky and esoteric field of experimental archaeology: e.g., recreating a 17th century Quebecois bake oven.

Canadian Issues:

• First Nation, Métis or Inuit issues
• immigrant issues
• other current issues of likely interest to Canadians

Self-Help Books:

• we have published books on writing, editing, creativity, gardening

Fiction:

We seek books that are solidly plotted and character driven, with an emphasis on Canadian culture and settings, in the following categories:

• Mainstream
• Fantasy: We tend to favour cultural and historical fantasies that reflect Canadian mores, although borrowing from other cultures is part of our multicultural nature. Examples would include Shadow Song and From Mountains of Ice.
• Science fiction: We’re looking for original concepts from a Canadian perspective.
• Speculative: We are absolutely keen about authors who push the borders of fiction and concepts, though again we are looking for a Canadian perspective, insight or flavour.
• Historical: We are very keen to encourage writers to delve into the rich historical foundation we have and create solidly plotted, character-driven stories illuminating our diverse history. Shadow Song would be an example of the sort of well-researched historical novel for which we are looking.
• Young Adult: Any stories in the above categories with a target audience in the nine to 18 range.

We will not consider vampires or horror, crime, women’s fiction or erotica; and unfortunately do not publish poetry or essay collections; nor can we publish picture books for either children or adults.

To expand on some of the fiction requirements: we’re not interested in following trends. So if you have a novel that rides on the wave of girls swooning to die for love, or CIA plots in Muslim countries, or the Big Evil threatening the balance of the world/universe/reality you might want to bypass Five Rivers.

If, however, you have an Alberta boy who decides he needs to be the protector of his town, and does so with cow paddies, stop signs, and microwaved bugs (as did Michell Plested), then you have a winner in our eyes. Or if you decide to write about a smuggling operation involving the Stoney Nakoda in order to retrieve appropriated artifacts, then you’d receive a favourable reading, depending how well you told your story.

In short, think of the wealth of stories we have to tell here in Canada, and then set about telling them in an honest voice. Don’t try to write like someone else. Write as you would tell these stories. Become your characters. Let us see their world through their eyes. Keep your point of view tight and focused. And allow your characters to be human. Just ordinary humans who are placed in extraordinary circumstances.

At all costs avoid cliches. Allow your villains to do genuinely good deeds, because except for a very few extraordinary psychological cases, there is rarely a truly evil person, and how fascinating to have a villain who is worthy of our pity, than one who is easy to detest. This makes for interesting reading, because it raises characters off the page, allows for the complexities and vagaries of life to imbue a story.

As to the actual writing, two of the common problems we see here are:

• Extraneous exposition: put another way, too much telling and not enough showing. Time and again I come across passages wherein the author explains background, or some other detail, instead of allowing this information to flow through dialogue or action. It could be something as simple as washing dishes. Instead of telling us John is washing dishes, have conversation flow around the actions of washing dishes.
• Cliche phrases and situations: in everything you write try to find a fresh way to phrase your work, allowing the words to emulate the mood and tension, rather than relying upon easy and familiar terms.

If we send comments with your returned manuscript…
… it doesn’t mean we’re being brutal, harsh, eviscerating, or think you’re a hack, washed-up, no good. It actually means we think there is a writer worthy of time and development, who just needs a bit of polishing. It’s rare an author, whether submitting to a small press or a large house, won’t have to undertake revisions and editorial direction. Rather you should dread the standard, non-committal rejection notice than a rejection accompanied by detailed, thoughtful constructive criticism.

In the end it comes down to personal taste
That’s a truth. The person sitting at the publisher’s desk, the person making the decisions at Five Rivers, doesn’t believe in art by committee. I believe in publishing work which, in my view, brings something new to this corner of the world. Ultimately it’s me you have to impress. Not a sales team. Not a marketing and promotion team. Just me. And the easiest way to impress me is to follow the guidelines, write from your heart, write your best, polish and hone, and then, when you think you’ve caught every loose end, every cliche, send it along. I’ll give it my complete attention.