This mentorship program is a stepping stone in my writing career. As someone who has been teaching herself the craft of short stories by reading other authors, I have been searching for one-on-one professional guidance tailored specifically to my stories for a very long time . . .
This is first time I am writing a play (outside of my youth work) so to get feedback, mentorship and to learn from those that write in the classical tradition is extremely valuable as they come in with a different set of eyes than my physical theatre/collective creation background . . .
I’m obviously very happy to have a chance to work with Nino Ricci, whose work I’ve admired for a long time. I hope to get a good solid critique about my work-in-progress, and advice on all the elements that go into making a novel: plot, structure, overall dramatic quality, characters, etc., etc . . .
I worked on dis.chord as my thesis for the University of Guelph-Humber’s MFA in Creative Writing program, and the awesome Russell Smith served as my advisor. The structure, support and accountability of that mentorship was immensely helpful . . .
I expect the mentorship to provide structure and motivation for my writing practice, connect me with other Toronto writers, help solidify my identity as a writer in this city, and support me in completing a manuscript I can confidently submit to publishers . . .
I am hoping and expecting that the DD mentorship has a strong impact on my writing, in both quality and in quantity. My mentor Marina Endicott has a discerning eye (she’s given me feedback on my work before) so I know my writing will improve under her guidance . . .
Before the DD mentorship, I’d had smaller, informal mentorships, but nothing this deep or sustained. The Diaspora Dialogues mentorship gave me the chance to work long-term with the stories collected in Peninsula Sinking and, most importantly, to consider those stories as a coherent entity . . .