Spending time selling books in person is always a blast. For this spring, I have the following appearances in Waterloo Region. (Most recent listed up top.)

Saturday, May 31, 2025: Waterloo Bookfest

Outside in spring weather? Check! LOADS of books to peruse a buy? Check!

This marks my fourth year participating in Waterloo Bookfest, co-organized this year by Grand River Writers and KW Writers Alliance. I'll have all my books with me. Drop by to say hi, pick up the next book in the series you're reading, have me sign books you've already purchased, or talk about my current works in progress. I love meeting new readers.

My mentor, Heather Wright, will be selling her writing guides. She's helped shape me into the writer I am today. I highly recommend popping by to pick up a little writing help. You can also buy her how-to-write books online at Etsy.

You'll find me and all my fellow writers at Waterloo Public Square from 2-8PM. 

Thursday, May 29, 2025: Waterloo Public Library

Waterloo Public Library main branch is hosting a local author event, where authors from Waterloo Region will showcase up to three of their own books. Ample free parking is available on site, and bus riders can access the library via GRT route 7 or LRT.

I'll have the first book of Between Worlds and the first two books of Love on Belmont with me.

Saturday, April 12, 2025: Heffner Spring Show

Spending the afternoon at the family business that has helped me so much in life is always a blast. I’ll have both series with me: Between Worlds and Love on Belmont. I'll also have my sale bin with me, where many previous prints are $5 each.

Other vendors include Scentsy, Live Forward Apparel, Inspired Cardz by Jacqueline, Sylvie Stamps, and many more! Full list of vendors is avaialble here.

Time: 10AM–3PM

Address: Heffner Toyota building, 3131 King St. E., Kitchener, ON

Saturday, March 29, 2025: Indigo Kitchener

Once again, I’ll be at Indigo’s by Fairview Mall! The focus this time will be Love on Belmont. The fourth book is in the works, and if all goes well, it’ll be out by Christmas. So…if you’re lagging behind on the series, or want to grab signed copies for a friend or family member, drop by!

And, as always, if you bought your books elsewhere, even on Amazon, and would like them signed, do drop by. I love getting to know readers in person.

Time: 12PM–4PM

Address: Indigo Kitchener, 225 Fairway Rd S Unit CRU-04, Kitchener, ON

I hope to see you out this spring!

In my world of dance fiction, dance has more uses for storytelling than just "Will I pass this audition? Will I make it?" I love exploring the possibilities. A student of dance since I was 2.5 years old, I've written dance into many of my novels: the entire Between Worlds young adult series and two of my Love on Belmont sweet romance novels for adults. It will also form the backbone for my next young adult series, currently in the planning stages.

In this blog post, I’ll explain the themes important in my dance fiction, share why I enjoy writing it, and offer tips on writing dance fiction if you love dance, too. (You don’t have to have extensive training either.)

Uncommon Themes in Dance Fiction

The dance fiction I read as a kid often focused on “making it,” i.e., passing an audition, or successfully getting through the day at an elite ballet school. Many dance movie plots centre around this character goal, too. I already hear “Five, six, seven, eight!” from A Chorus Line.

[https://www.youtube.com/watch?v=NJGaktlsD48]

I never turned professional. Does that mean my dance education was a waste of time? Hardly. That’s why I wrote Between Worlds, my young adult series about a teen dancer who’s going through some tough times and uses dance in part to pull herself through.

But having a successful career in dance isn’t a horrible thing by any stretch! So, what about those who made it? Professional dancers typically retire in their 30s and 40s. The other part that rarely gets portrayed in dance fiction (and dance movies) is dancers at the end of their career. Turning Point, with Shirley MacLaine, Anne Bancroft, and Mikhail Baryshnikov, is perhaps the closest I’ve found so far.

So, enter from stage right world ballet star Todd Parsons in Tea Shop for Two, and in a parallel career as a pro sports mascot actor, Pauline Robinson.

Or what about dancers diagnosed with a hidden disability? We may read about dancers who are injured and then return to training once everything’s better, but how would a dancer balance dealing with a disability while still yearning to become a professional dancer?

Young ballet dancer Austin in Tea Shop for Two and Oh, What the Fudge is currently just a supporting character as a teen in an adult sweet romance series, but he will soon be the star of his own young adult dance fiction series. His diagnosis of epilepsy in his teens throws him a curveball he didn’t anticipate.

Whether you're a dance enthusiast or simply searching for young adult reads for the young dancer(s) in your family, my dance fiction to date has something to offer.

Dance Fiction vs. Non-Fiction

Dance fiction and non-fiction may both explore the world of dance, but they approach it from different angles.

I research dance when I need to, either through non-fiction books, which provide insights into the history, techniques, and biographies of dancers, or by taking dance class.

[image of me taking adult ballet class]

But I don’t write non-fiction dance books.

Dance fiction takes readers on a fictional journey through the lives of dancers. Through it, I can freely explore areas of the dance world and how dance affects people in different situations. I can also let characters say whatever they need to so the plot keeps readers interested.

But ultimately, I want to show that dance helps us get through life.

Popular Dance Fiction Books and Authors

If you enjoy reading dance fiction, here are a few names to try. I haven’t read all of them myself, but they are popular or have received good reviews:

Young Adult Dance Fiction Books

·       Tiny Dancer, by Siena Cherson Siegel and Mark Siegel

·       Exit Stage Right and Face Off, both by fellow local author Jennifer Willcock

·       The Other Side of Perfect, by Mariko Turk

·       I Wanna Be Where You Are, by Kristina Forest

·       Pirouette, by Robyn Bavati

Dance Fiction Books in the Sweet Romance Genre

·       The Cheat Sheet, by Sarah Adams

·       Into Your Arms, by Abigail Storm

·       The Muse: A Pride and Prejudice Variation, by Jessica Evans

·       With a Twist, by Staci Hart

Researching and Incorporating Dance Styles into Fiction

Even though I studied dance in my youth for over 15 years and also take adult lessons when time allows, I still research, as I mentioned earlier.

That’s because even within the major forms of Western dance, e.g., ballet, tap, jazz, hip hop, there are different styles. Ballet is the easiest one for me to talk about: you’ll find Vaganova (Russian), Cecchetti (Italian), Royal Academy of Dance (English), and French styles perhaps the most well known. Other styles of ballet do exist, however.

Tap teachers and choreographers differ in their terminology to some degree but more predominantly (at least in my experience) in their counting. Some count in da and de, others in ta and te, and yet others will use numbers. And let’s not forget that some will mix it all together. Hands are often involved, clapping to either keep the beat, emphasize a difficult passage, do both, or act like feet tapping in the air.

Sitting in on a class or two to watch is ideal, but if you don’t have strong connections to a studio, you may find this difficult: understandably, adults in care of children won’t let just any adults sit in to watch children. But thankfully, the internet is full of videos, so you should be able to watch there a lot there these days.

Just ensure that you characters are consistent. For example, a ballet instructor who teaches only Cecchetti will only change vocabulary or technique if they have good reason to do so.

Challenges and Rewards of Writing Dance Fiction

Writing dance fiction comes with its own set of challenges and rewards. One of the challenges is effectively conveying the physicality and visual beauty of dance through words alone. For example, try this excerpt from Tea Shop for Two, where Todd is leading Pauline in improv dance.

…Todd raised their grasped hands to shoulder height. He released his fingers, so she followed, and he pressed his hand against hers. She followed again.

The pressure between their hands moved outwards and down. At first, Pauline simply copied Todd, turning her back when he turned his, leaning her head back onto his shoulder when he did so with his head to her shoulder. But once their cheeks touched and she closed her eyes, something changed: the energy she imagined feeling in a room of people now surged through them, the music leading it. She found herself stepping away from Todd as they each dropped into a deep lunge, held together only by their hands, feeling alone and barely able to hold on but by a metaphorical thread, a feeling she experienced sometimes when visiting terminally ill children. She couldn’t talk about it to anyone outside her line of work because it upset them too much. The closest she could get was others in her profession, usually big, strong, young men who turned to puddles at the mere mention of sick children and changed the topic.

Dance is a visual art form, and capturing its essence on the page without boring the reader through copious description is tough. Some have told me they found these descriptions hard to follow, for example. This passage is from Pauline’s perspective, so I couldn’t use any technical terminology.

Contrast that to Juliana’s dance sessions, which I often use to dissipate her emotions. This passage comes from Between Worlds 1: The Move, and Juliana is dancing with her Calgary dance group for the last time.

The music came on. Juliana, standing sideways, her head bent down and her right hand grabbing the rim of an invisible hat, dropped her heel in time with the beat, a simple rhythm to start the number. Then, one by one, each dancer heel-dropped to their own rhythm, creating a percussion foreground for the music. On a loud cymbal crash, they turned front, their heads down, waited eight counts, and then jumped into the opening riff sequence.

As Juliana’s feet slammed onto, slid along, and grazed across the floor, she thought of the conversation she’d had with Mom in the car on the way to the studio.

Thanks to one of my editors, Susan Fish, that dance sequence turned into a vehicle for backstory, thereby saving the need to repeat all of Juliana’s emotions as she performed a three-minute routine.

At least when you have to describe a painting or a photograph, you can usually work with vocabulary and imagery your readers know. Dance provides a challenge because much of a vocabulary is unfamiliar to readers; depending on the style of dance, the vocabulary differs; and each character has their personal approach to dance that needs to be honoured and portrayed.

Which brings me to my tips for you if you’d like to try your hand at dance fiction.

Tips for Aspiring Dance Fiction Writers

If you’re looking to write dance fiction yourself, these tips may help:

1. Just because you didn’t grow up taking dance lessons doesn’t mean you can’t write dance fiction. You most certainly can! But follow the rest of these suggestions so your book doesn’t read like it was written by a novice.

2. Research extensively: study the history, techniques, and cultural significance of the dance forms you want to use in your novel. Most ballet dancers, for example, don’t say “spinning” and “dancing on my toes” the way a layperson would. Thankfully, social media, online syllabi, and awareness days can help you create realistic portrayals.

3. Connect with dancers: interview dancers, attend workshops, and engage with the dance community. Their insights and experiences can provide invaluable inspiration and authenticity to your writing. But always ask about their background. A dancer who trained in an average-sized city in Canada will have had a different experience from one who trained in LA.

4. Find a balance between being true to dance and realizing your reader may not know what a chaîné turn is: I struggle with this frequently. I believe that for many laypeople, a “pirouette” is any turn, but for dancers, it’s a specific turn. In Tea Shop for Two, Todd says “pirouette.” Pauline, on the other hand, refers to this step performed by the man she is falling in love with as “spinning like the letter p.”

5. Don’t forget to include a range of characters: not all dancers are snobs, perfectionists, bunheads, backstabbers, or people with eating disorders. If you’re having a hard time steering clear of stereotypes, create your characters first, then add dance to their profile and see how that affects their personalities.

6. Don’t be afraid to express dance as emotion instead of steps: overwhelming readers of dance fiction with technical details can lead to boredom because it’ll feel like an information dump. And because it has emotion, it must have a reason for being in your book. Although dance fiction needs dance—obviously!—each dance scene must have a purpose.

7. Consider having others read your work: if you’re new to writing dance fiction, ask people who might enjoy reading your work to give you some feedback. (Asking someone who loves action novels to read a romance dance fiction excerpt, for example, may not illicit the comments you’re hoping for.)

Conclusion

Dance fiction usually focuses on a dancer—either a student or professional—“making it.” As a kid, this led me to believe that the only reason for studying dance was to become professional. That didn’t happen.

Instead, I learned over time how useful dance became in other areas of my life. Once I began penning dance fiction novels, I wanted to expand the genre to include more storylines, most importantly, dance as a way to get through life.

So, whether you're a dance enthusiast or simply seeking an escape into a world of passion and grace, you’ll hopefully find dance fiction here that fits your reading desires or those of a young person in your life.

“Books with strong women” receives an estimated 350 search a month in the Amazon US store. “Stories about strong women” currently returns an estimated 1,200 searches a month. The same with “strong women characters fiction.” But what is a strong woman? Because if there are strong women, there must be weak women, right?

What I Used to Think “Strong Woman” Meant

My childhood was marked by 80s Feminism, which carried over into the 90s. In those days, women appeared to try to be like men:

·       shoulder pads that altered the look of a woman’s body

·       statistics that compared the economic worth of a woman’s household work to a man’s employment

·       women with the same strength as men (generally in the superhero/comic book genre)

·       TV shows that placed women in traditionally men’s roles:

o   Angela Bauer as a marketing executive with a male housekeeper

o   She-Ra, rebel fighter against the Horde, whose voice deepened when she transformed from Princess Adora (cute name) to She-Ra

o   Claire Huxtable, a lawyer

o   Katherine Janeway, captain of the starship Voyager

I’m sure you could add many more to that list. And women need to continue pressing into roles that are traditionally male, such as in construction, automotive, and software development.

However, there’s pushing into careers and roles that are traditionally done by men, and there’s trying to “act like a man.” Although related, they are different.

What a Strong Woman Might Mean Today

Trying to settle on a definition of what makes a woman strong presented a host of problems for me. Was it simply women who fought against the grain? But how does that apply to women who choose to run a household and raise the kids, which are traditionally female roles?

Do strong women have a high amount of self-confidence? Then what about the women dealing with abuse and unable to find a way out of their situation?

Do strong women have ample muscle mass, a physical sign of strength? Maybe. But how does that apply to women who genetically don’t produce a lot of muscle, who may be disabled, or who simply hate lifting weights?

Do strong women shout from the rooftops to stand up for themselves? Some absolutely do. Others build their resistance to inequality quietly. (Of course, some people will argue that the latter group is more “ladylike” than the former. Don’t get me started on that! It’s a topic for a different time.)

The only conclusion I can come to at this point in my life is that “strong woman” means a woman who decides for herself. She will likely pull in opinions from others to help her gain a broader perspective of whatever she’s trying to solve, but she will come to that decision on her own.

Strong Women in Books

This is why all my female protagonists are strong women:

·       14-year-old Juliana Roth from Between Worlds does her best to cope with a move halfway across Canada. Over time, she learns how to take control of her own destiny despite the changes happening to her.

·       14-year-old Elisabeth, a teen in the aftermath of World War I, wishes to choose her husband for herself (against the will of her family), and learns that what we today call mental illness is not a punishment from God.

·       40-something Pauline, a weightlifter, jogger, gymnast, and professional sports mascot, has no problems entertaining thousands—even millions—while in costume, but at the beginning of Tea Shop for Two, she goes silent when she has to address a few dozen tea lovers as herself.

·       40-something Tracy, best friends with Pauline, tries to balance the seismic changes in her family while parenting her disabled teen.

·       Claire, whom we follow from when she opens her own business in the 1960s in her 20s, to her 70s, when she retires, has survived spousal abuse and discrimination, but also raised her family while running her business.

Writing About Strong Women in Books

As I write my novels, I try to avoid creating strong women in the image of men. Instead, I put them into situations that call on them to trust their truth and rise to the occasion. Sometimes this involves gender-bending, as with Pauline. Other times, it involves women in traditionally female roles as mothers pushing the world to accept them as they are while they raise their family, like Claire.

Books with strong women shouldn’t relegate themselves to a single definition: a woman with male qualities who fights. We can most definitely include this woman in our arsenal of strong women, but we can’t forget the women who move quietly through life at their own pace, doing their best to do what’s right.