“Arguing” by Marg Heidebrecht

 

Given the abundance of electronic devices in their 21^st century lives, my grandchildren struggle to make sense of a long-ago argument. I try again.

My older sisters wanted to watch The Wizard of Oz. The rooftop antenna picked up the broadcast of this Oscar-winning film from a station in Buffalo, New York. Through the magic of radio waves and alternating currents, the movie appeared on our living room TV, a heavy piece of furniture that weighed as much as I did.

Even with the volume dialed to its lowest setting, I could hear the screeching of the wicked witch from the kitchen where I was sprinkling cinnamon sugar onto a piece of buttered toast. Even after running upstairs and burying my head under a feather pillow, an itchy blanket, and a chenille bedspread, I could hear the flapping of the flying monkeys’ wings.

Had I been older than seven, I would’ve done what I do now when panic sets in – gone for a brisk evening walk.

“Turn it off,” I sobbed. My mother did and my sisters were furious. It was not possible to slam the swinging door that separated the living room from the kitchen, but they shoved it with such force that it took several minutes for the hinged panel to stop squeaking, to settle back down. It took the siblings much longer.

Questions followed this explanation. Didn’t you have noise-cancelling headphones? Couldn’t your sisters watch it later? Why didn’t you watch something else in a different room?

No, no, and we only had one screen. I resist any mention of the second screen, the portable one; it was stored behind out-of-season jackets and set up on a wobbly base whenever my father wanted to display pictures from a special event or recent vacation. 

He removed twenty-four slides from a yellow Kodachrome box, deposited them upside down and backwards into a projector; incomprehensible to these youngsters and archaic now to me with 6,893 images tucked inside my pocket on a phone.

In spite of the Oz debacle, there were advantages to living with one TV and four channels. We learned to defend our preferences and tolerate each other’s choices. Library books and embroidery projects remained options if the polka music on Lawrence Welk or Lassie’s search for yet another child in danger became unbearable.

Since I was not an early riser, I have no recollection of when the broadcast day began; but when weekend babysitting boosted my bank account, I learned that stations signed off at 11 p.m. with coloured bars and a series of beeps, leaving an unwelcome gap until the party-going parents returned.

In an attempt to stay awake, I grabbed another handful of salt & vinegar chips, counted the cars that drove down Sterling Street, and waited for a set of headlights to turn into the driveway of #73 so I could go home.

When my own kids were teens, the video store provided small bags of popcorn along with thousands of films. With one VCR and a mom who checked the language and violence ratings on the box, there were heated debates beside the checkout counter. More than once, we left empty-handed.

In hindsight, the supervision and wisdom required in that era was simple. The only web we knew was the kind made by spiders in hard-to-reach corners of the attic. The world-wide variety had not yet been spun; nor our attention held hostage in its sticky threads.

Today my grandchildren point to the 42” flat screen in our living room; it sits on an end table between a plaid sofa and a seldom-used window; an attempt to safeguard it should an excess of sugar and a deficit of outdoor play result in a game of indoor tag.

“Do you ever watch it?” A reasonable question.

“Yes, but not when we have visitors.” An honest answer.

“Do you have a favourite show?”

Petticoat Junction in the ‘60s, Cheers in the ‘80s, ER in the ‘00s; but with the availability of several dozen streaming services, it’s hard enough to decide what to watch after the dishes are done let alone choose a favourite. This is not the time to tell these bright young minds that Grandpa and Bubba sometimes prefer to re-watch familiar whodunits and that the endings always come as a surprise.

The tech broligarchs are busy implementing the restrictions ordered by the leader of the free world; they have not noticed that the rules at Grandma’s house remain unchanged: 1. Eat food at the table. 2. One piece of bubble gum per visit. 3. No screens.

My rationale?

1. The mess. 2. The dentist. 3. My time with them is limited, they have screens everywhere else, and it’s a slip ‘n slide tumble from ten minutes of Paw Patrol to hours on YouTube. Compromise versus dopamine is a rigged competition; I’m opting out of the match.

It is not lost on me that I’m considering the prevalence of screens while staring at one; I prefer the cut and paste features of Microsoft Word to typewriters and bottles of correction fluid.

This is an example of the inconsistency that comes with aging. We embrace online booking and transit apps that simplify life; we criticize the disruption of AI and Meta while lining up for senior discounts.

But our forebearers kept candles after the invention of light bulbs; thanks to them we can make wishes over birthday cakes and set a romantic tone in any room.

Perhaps, a hundred years from now, someone will unearth my board games, my craft supplies, my muddy boots. Will they be confused or amused by this stash of relics? Better, I suppose, than being overwhelmed with head-shaking regret.

Marg Heidebrecht lives and writes in Dundas, Ontario. Her first book of essays, In the Shade: Friendship, Loss, and the Bruce Trail (here) was shortlisted for the 2020 Hamilton Arts Council Literary Awards. Her essay, “Invasions,” won a creative nonfiction prize in the 2022 Hamilton Arts & Letters contest and is included in her 2024 book, Mosaic through East-Facing Glass: A Collection of Personal Essays (here). 

She’s also published several opinion pieces and many letters to the editor in The Globe and Mail and The Hamilton Spectator. 

Visit Marg at:
https://intheshade2019.blogspot.com/
https://www.instagram.com/intheshade2019/?hl=en

Read more short stories, essays, and poems by your fellow writers here (and scroll down).

See Brian Henry's upcoming weekly writing classes, one-day workshops, and four-day retreats here.

5½ literary agents at Transatlantic are looking for manuscripts

Blue to the Sky by Sylvia McNicoll
represented by Transatlantic

Transatlantic Agency

68 Claremont Street
Suite 100
Toronto, Ontario, Canada 

https://transatlanticagency.com/

Note: You can now get new postings on Quick Brown Fox delivered straight to your Inbox as I publish them. Subscribe to the new Quick Brown Fox page on Substack here:  https://brian999.substack.com/

Transatlantic Agency is a leading literary management company with a team of 22 experienced agents based in cities across North America. They offer a full spectrum of career representation to authors (Adult, Children’s & YA, and illustrators) and storytellers (Speakers, Industry leaders & Influencers) across all genres and formats for book, content development, speaking and TV & Film.

Transatlantic represents more than 700 American, Canadian and internationally bestselling and award-winning clients, writing commercial and literary fiction and nonfiction, graphic novels, and picture books.

Books by Transatlantic’s clients regularly appear on notable bestseller lists across North America and have won major awards such as the Newbery Medal (U.S.), the Giller Prize (Canada), Michael L. Printz Honor Book (U.S.), and the Governor General’s Award for both adult and children’s literature (Canada).

Four of their agents are currently open to queries (and one more will open to queries in the fall, hence the ½ in the headline :-)

Jane Chun joined Transatlantic in 2023 after four years at Janklow & Nesbit Associates. Prior to her time at J&N, she worked on a freelance project for HG Literary and interned at Writers House and Maximum Films & Management.

Before entering the publishing world, Jane attended NYU where she majored in History and minored in Business of Entertainment, Media, and Technology; Creative Writing; and Spanish. She returned to NYU shortly after graduation and a brief stint at Asian CineVision and the Asian American International Film Festival (AAIFF) to receive her M.S. in Publishing with distinction. She is a native New Yorker.

Jane is particularly interested in stories that center marginalized communities and prose that is cinematic and atmospheric with good rhythm. In both fiction and nonfiction, she is drawn towards compelling, fresh voices that make her feel as though the writer is in the room with her, telling her their story with intimacy as if they were already acquainted. Regardless of how plot-driven a story is, characters with rich inner worlds and emotional depth are a must for her.

For fiction, Jane is open to contemporary, historical, fantasy, sci-fi, speculative, and horror.

For nonfiction, Jane is looking for memoirs, narrative nonfiction, history, investigative journalism, books about nature, climate, and science, and books about food, travel, pop culture, and cultural criticism.

In addition to traditional prose, she is very interested in graphic novels and graphic nonfiction.

Be sure to check out Jane’s more detailed likes and dislikes here.

Query Jane through her Query Manager here.

***

Note: If you’re interested in meeting an agent and in getting published, check out our upcoming “How to Get Published” workshop here.

***

Laura Cameron is a literary agent and the in-house film and television agent at the Transatlantic Agency. She joined the Transatlantic Agency after six years at Penguin Random House Canada. Before her career in publishing, Laura did a Master’s in Journalism at Columbia University and interned at the Economist.

Laura represents a diverse mix of books. While her focus is adult upmarket and literary fiction and elevated horror and suspense, she is particularly drawn to work that blends and subverts genres. Above all, she seeks to represent novels that combine an ingenious plot with an unforgettable voice. Whether it’s a story that provides a new way into a familiar world or one that’s rooted in lesser-known mythology, she loves to be surprised by characters and craves books that show her something new.

Laura is specifically interested in the psychology of memory, complicated female friendships, sibling relationships, family mysteries, books about art, doppelgängers and mistaken identity, deeply flawed protagonists, crime and uniquely gifted criminals, a genuinely shocking twist, dark stories with redemption, and funny novels that start urgent conversations.

Laura also represents select picture books, middle grade, and young adult but currently, she’s open only to adult fiction and nonfiction.

In her role as Film and TV agent, Laura works with a boutique list of author-turned-screenwriters in addition to representing books for screen adaptation. Along with Samantha Haywood, Laura is the lead on Transatlantic Agency’s joint venture with Blink49 Studios and Fifth Season.

For inquires, please email: lcameron@transatlanticagency.com

Samantha Haywood is owner and President of the Transatlantic Agency. She has extensive experience selling authors in North America for publication and TV/film representation. She launched her client list with Transatlantic Agency in 2004 after working in the international rights departments of Random House of Canada and Westwood Creative Artists. 

Samantha represents a diverse and vibrant client list of novelists, memoirists, investigative journalists, graphic novelists, cookbook authors and thought leaders. Samantha represents international rights for the renowned publisher, Drawn & Quarterly. She is also a founding member and former President of PACLA, the Professional Association of Canadian Literary Agents.

Samantha encourages submissions from a plurality of voices, stories and authors of all backgrounds. For her client list, her objective is originality and diversity.

In fiction, Samantha is looking for literary fiction and upmarket commercial fiction of all types. Getting more specific, yes to: smart contemporary fiction, upmarket women’s fiction, upmarket escapist fiction, crossover/hybrid style novels, and sophisticated novels with speculative or horror elements with a genre slant.

Yes to literary thrillers and upmarket mystery. Witty, sharp, biting or satirical elements are also welcome, especially when it comes to socio-political issues including class and late-stage capitalism. Yes also to fiction which examines identity, gender/sexuality and/or racism through a unique lens. 

In nonfiction, Samantha prefers narrative nonfiction and big idea nonfiction, especially on culturally relevant topics such as feminism, environmentalism, Indigenous issues, societal inequities with forecasts for progress.

She represents some prescriptive, inspirational and motivational nonfiction, matched with expertise and a platform, and preferably with a personal story woven throughout. Yes also to investigative reportage; historical narratives handled in refreshing ways, true crime with societal implications and occasionally an outstanding memoir (must be truly original or well-known subjects).

Essentially, she’s looking for a strong narrative drive and distinctive voice at all times.

Samantha also wants graphic novels and nonfiction): Preferably full-length graphic novels with author and illustrator as one creator or already teamed-up. Graphic novel memoirs, biographies, travel narratives and other nonfiction graphica also welcome.

Query Samantha at: querysamantha@transatlanticagency.com

Authors are encouraged to email a cover letter with a sample/excerpt of the book in question. Please submit a maximum of 20 pages. Embed the sample/excerpt into the email after the cover letter. Graphic novel submissions may include an attachment. Please submit an author bio/publishing history and a synopsis. 

Rob Firing has been working as a promoter and publicist for more than 20 years, 15 of those at HarperCollins as their Senior Director of Publicity, Communications and Speakers’ Bureau. Rob has worked closely with everyone from JK Rowling to Tom Wolfe, from Margaret Trudeau to Margaret Drabble — literally hundreds of writers across many genres. 

He is also the co-author of The Everyday Squash Cook (HarperCollins, 2014), and the author of STEAK REVOLUTION (HarperCollins, 2018), which was a Gourmand World Cookbook Award finalist. 

Rob is seeking nonfiction only:

– Social and cultural history or other fun history
– History that connects to today, history that asks questions
– Investigative reporting and narrative journalism
– Popular science when it’s careful and Insightful
– Narrative nonfiction that engages with food, the natural world,
travel, or everyday objects
– Cookbooks with something extra
– Highly applicable prescriptive nonfiction

Please note that due to the sometimes very high volume of inquiries, not all inquiries regarding manuscript submissions will be answered.

If you are submitting a proposal, please submit a synopsis and 20 pages of the manuscript via email to: rob@transatlanticagency.com

Attachments will not be opened.

Noelle Falcis Math has garnered a breadth of experience as a writer and editor before transitioning into agenting. She holds a BA and MFA in English and Creative Writing, and has received fellowships or residencies from VONA (Voices of Our Nations), Tinhouse, The Seventh Wave, and Lemontree House. 

In 2021, she completed the Los Angeles Review of Books’ Publishing Workshop and Transatlantic Agency’s BIPOC mentorship program. In 2023, she transitioned into an Associate Agent and began building her list of authors. Just recently, in 2025, she was promoted to agent.

Noelle is currently accepting submissions for the month of August.

Noelle is looking for projects that uplift essential voices from the margins and teaches how to better be human. She is eager to work with and prioritize authors of marginalized identities, and is particularly looking for narratives from Southeast Asian, Pacific Islander and Oceanic, and Indigenous perspectives.

This said, she welcomes all stories with compelling writing that explores the mythic and mundane, the sacred and profane, and the strange and fabulous beside the everyday. She likes to see characters evolve and change, teaching us further about ourselves and the resilience of the human condition.

For Fiction, she is keen on: reimagined folklore and mythology; dark, sad girl narratives; folks in the margins of their own communities; immigrant mothers and their daughters; coming-of-age stories and sisterhood; the softness of siblinghood; atmospheric, existential campus novels from BIPOC perspectives; the unique intricacies and messiness of romance; monstrous women (why are they monsters?); and anything brimming with ancestral ghosts.

She likes speculative work with surreal elements that flirt with the absurd. Last, any narrative in which the ocean holds weight will have an automatic layer of charm.

For Nonfiction, she’s looking for projects that explore the intersections of the personal, the political, and the cultural. She is specifically looking for narratives from the margins or from emerging artists, cultural practitioners, and academics that know their niche deeply.

She would love to see strong essay collections, narrative nonfiction, archival works, and experimental blendings exploring (or connecting) culture, the diaspora, decolonization, systemic inequalities, land relationships, climate change, and our striving toward wellness.

For Fall 2025, in Fiction, she is prioritizing literary, speculative, upmarket, and commercial narratives in the adult category. In Nonfiction, she is prioritizing cultural and narrative nonfiction. Across both categories, she maintains her perennial ask for experimental, form breaking and blending prose.

Some Key Themes she’s looking (Across Fiction and Nonfiction) for in 2025: 

·         Climate Futurism

·         Island Narratives

·         Dark Side of Beauty & Wellness Industries

·         Motherhood

·         Literary/Upmarket RomCom

·         Literary/Upmarket Narratives centered on Dance or Athletics

·         Dark Comedy on Influencer Culture and/or Millennial Life

·         Cozy + Anything! – Mystery, Fantasy, Grounded, Food

To query Noelle, please send a query letter, author bio, and 25-page sample (for fiction) or proposal (nonfiction) to: querynoelle@transatlanticagency.com

Include “Query” in the subject line along with the title and genre of your project, paste your sample into the body of the email, and notify her if another offer of representation is received.

Carolyn Forde is currently closed to queries, but will re-open to queries in the fall. Before joining Transatlantic, Carolyn was a literary agent and International Rights Director at Westwood Creative Artists for 14 years.

Carolyn would love to see literary fiction (especially speculative and horror), commercial fiction, narrative nonfiction by experts in the field and is open minded to a broad range of topics and styles – as long as it engages her.

There are a few things she’s not keen on: medical/disease related memoirs, police procedurals, climate thrillers, military or CIA fiction, cozy mysteries, books about film and tv behind the scenes, and fantasy. Don’t send her any of these.

Come the fall, check out Carolyn’s submissions page here.

Andrea Cascardi represents manuscripts for young readers. Unfortunately, she’s only open to submissions by professional referral or by participants in contests or conferences Andrea personally attends. So, I’ll have to see about getting her as a guest speaker! ~Brian 

Andrea Cascardi has held senior editorial positions at Random House, Disney/Hyperion, and Egmont USA. As an editor she acquired and edited Caldecott Honor and Coretta Scott King winner Tar Beach by Faith Ringgold, the Raffi Songs to Read series, and Pura Belpre winner Before We Were Free by Julia Alvarez among many other award-winning books.

As an agent she has represented many bestselling and award-winning titles including Clare Vanderpool’s Newbery winner Moon Over Manifest and Printz Honor winner Navigating Early, e.E. Charlton-Truillo’s Stonewall winner Fat Angie, New York Times Bestseller: Nubs: A Mutt, A Marine, and a Miracle, and Texas Bluebonnet winner Ten Rules You Absolutely Must Not Break if You Want to Survive the School Bus.

See Transatlantic’s submissions page here.

For information about other literary agents looking for authors, see here (and scroll down).

See all of Brian’s upcoming weekly writing classes, one-day workshops, and weekend retreats here.

Navigation tips: Always check out the Labels underneath a post; they’ll lead you to various distinct collections of postings. If you're searching for a literary agent who represents a particular type of book, check out this post.  

"Workshops and classes and writers ~ oh, my!" by Hannah Mary McKinnon

Writers from Brian's Intensive class gather at a café to showcase their writing

Crazy to think I attended my first workshop with Brian in October 2013 and my first weekly class in January 2014, and since then I’ve had seven short stories published, rewritten my novel, finished my first children’s chapter book, and bagged an agent! Brian’s been my angel in disguise.

(Note, this piece was originally published late in 2014. Since then, Hannah's published ten novels and has more on the way. Her latest, A Killer Motive, comes out September 9. Details and pre-orders here.)

It all began on October 5, 2013. And my apologies to Elmore Leonard for beginning with the weather, but when I looked out of the window, I saw rain. Dark skies. More rain. Swirling, ominous black clouds. And did I mention the rain? A miserable Saturday that offered the perfect excuse to stay inside and sit next to the fire with a cup of tea and a good book.

Except that I’d signed up for a How to Get Published workshop in Georgetown, of all places, a good thirty-minute drive north. I’d seen the workshop on the Internet, on a blog written by someone called Brian Henry.

Should I go? Actually, I debated whether I could be bothered. Told myself it wouldn’t be helpful. Nobody seemed to like my writing (waah-waah). A one-day workshop couldn’t change that. So what if an agent was the guest speaker? It only meant giving another one the opportunity to reject me (*pout*).

Then I figured I’d met my husband on the Internet years ago, and that had worked out. Plus, I’d paid for the workshop in advance, so what the hell. I drove off, fully expecting to be home by lunchtime. I wasn’t. In fact, I didn’t get home until late afternoon because I enjoyed myself so much. I even hung around after to chat with Brian. Turned out he knew a lot of stuff. Really good stuff. And I was hooked.

In January I took Brian’s weekly Next Step in Creative Writing class in Mississauga. For ten weeks, twelve of us bravely battled our way through the incessant snow storms and polar vortexes. Every Thursday we reviewed two of each other’s pieces of writing. We offered friendly yet constructive feedback on what we saw as the good, the bad and the ugly – then listened intently to Brian’s elegantly spoken comments.

Critiquing my colleagues’ pieces was just as valuable as obtaining input on my own submissions. And to tell the truth, when I brought in my children’s chapter book, I wanted to crawl under the table and not listen to the critiques. But the feedback from the group was good: I should continue, I had something there, the kids would love it.

Marie Lamba or the Jennifer de Chiara
Literary Agency will be the guest speaker
at our "How to Get Published" workshop
Sept 7, 2025

I started to think that maybe, just maybe, I had an iota of talent. I dusted off the draft of my debut commercial fiction novel and started looking at it from a different, freshly acquired angle.

With surprising confidence, I plunged into the Intensive Creative Writing class in Burlington, and signed up for both the spring and autumn classes. Each week we looked at different subjects – plot versus story, first person compared to third, and even that elusive creature called omniscient.

Brian upped the ante this time when it came to submitting pieces. As well as studying writing techniques, we all brought three long and three short pieces each over the twelve-week course. That’s a ton of scribbles, about 13,000 words per person, in fact.

The class didn’t disappoint. The commitment, level of writing and enthusiasm present in the room each week were astounding. So too were the stories being born – full of love and passion, mystery and murder. There we sat – a group of people with the same passion. No egos, no power struggles, and too many laughs to be able count.

Brian and every single person in the classes gently shaped me into a better writer. Once again, obtaining feedback felt thrilling. I relished the praise, a comforting balm to the bruised amateur writer’s soul.

However, the team didn’t pull any punches (for the love of god, Hannah, don’t use clichés). They firmly told me what was wrong with my pieces (not clear enough, not emotional enough, not steamy enough, more – give us more). And I’m glad. Because lip service is a writer’s nemesis. Along with procrastination, self-doubt and YouTube, of course.

Brenda Ross from the Intensive class hanging out with
author Joseph Boyden (left) and Bryan Dearsley,
who's just given her an award for winning
the Muskoka Chautauqua short story contest

As well as the weekly classes, I attended half a dozen of Brian’s Saturday workshops, from writing for children to building stories, from discovering page-turner secrets to understanding how to find an agent. Each one renewed my passion for the craft, provided me with different perspectives, ideas and even more invaluable feedback.

Brian is a master at putting his finger on things you couldn’t quite formulate. He imparts grains of wisdom that flower into fully grown chapters.

You could say that rather a lot has changed since that first workshop in Georgetown. Seven of the eight short stories I’ve written in the last year were published online (damn it, almost a perfect score). Three of the stories actually started as exercises at Brian’s Saturday workshops, and one of them features in a book. A real, proper, printed book.

Late summer, a literary agent at an agency that Brian connected me with deemed my scribbles worthy of representation.

“What?” I muttered with furrowed brow when my wonderful agent said she wanted to represent me. “Really?” (Don’t say this when it happens to you; it sounds really bad.)

Now we’re busy working on the edits of my commercial fiction novel and my children’s chapter book before submitting them to publishers. I’m still in a state of disbelief. Goodness knows what I’ll do if (when!) I get a book deal.

And, yes, I’ve signed up for another Intensive course this winter (snow and polar vortexes be damned). So if you’ve read this far and you’re still wondering whether you should sign up for one of Brian’s weekly classes or a Saturday workshop, let me tell you this: stop wondering. Sign up now and go.

Even if it’s absolutely, positively miserable outside.

***

Hannah McKinnon, a 40-something British & Swiss national and more recently a Canadian import, has been telling stories for years – but only recently started writing them down. To date she's published ten novels and has more on the way. Check out her published novels here.

See more pieces about or inspired by Brian’s retreats, workshops and classes here.

For information about upcoming Intensive classes see here. For information about the upcoming in-person Intensive class in Burlington – yes, it’s still going strong – see here.

For our next “How to Get Published” workshop, with a literary agent as the guest speaker, see here.

And see all upcoming four-day  retreats, weekly writing classes, and one-day workshops, here. 

Join us in Petit-Cap, New Brunswick for a Writers' Weekend

Our venue in Petit Cap

The Writers Federation of New Brunswick presents...
  A Writing Weekend
    in Petit-Cap, New Brunswick

83 chemin du Camp
Petit-Cap, New Brunswick (37 minutes from Moncton; 33 minutes from the Confederations Bridge to PEI. Map here.)

“Writing Kid Lit”

Saturday, September 27, 2025
10 am – 12:30 pm: session one
Lunch: either Brown bag it, or sign up for lunch, provided by Resto 577
1 pm – 3 pm: Session two, including editing/public critique

A full day dedicated to Children’s Literature! The day will include information sessions about the various forms of children's literature, writing exercises, public critiques, and Q & A. Coffee, tea, and refreshments provided.

“Art of the Query Letter”

Sunday, September 28, 2025
10 am – 12:30 pm

How to write query letters that get a yes, plus public critiques of submitted queries, and questions and answer.

Lunch: either Brown bag it, or sign up for lunch, provided by Resto 577

“Writing Memoir”

Sunday, September 28, 2025
1:00 pm – 3:00 pm 

This workshop will introduce you to the tricks and conventions of telling true stories and will show you how to use the techniques of the novel to recount actual events. Whether you want to write for your family or for a wider public, don't miss this workshop.

~ Registration details here, including a list of places to stay in the area.

Workshop leader Brian Henry has been a book editor and creative writing instructor for more than 25 years. He publishes Quick Brown Fox, Canada's most popular blog for writers, taught creative writing at Ryerson University (now Toronto Metropolitan University) and has led workshops everywhere from Boston to Buffalo and from Sarnia to Saint John. Brian is the author of a children's version of Dr. Jekyll and Mr. Hyde (Tribute Publishing). But his proudest boast is that he has helped many of his students get published.

Read reviews and other pieces about or inspired by Brian's writing courses, workshops, and retreats here (and scroll down).

See all of Brian’s upcoming weekly writing classes, one-day workshops, and weekend retreats here.