Maureen Ulrich's Blog
December 30, 2021
On Vellum
I purchased Vellum a few months ago and used it to format my first poetry collection--Something's Different: A COVID Journal in Verse. I am now using it to format the first instalment of a new series tentatively titled Winds of Change. I confess I have fallen in love with editing/revising in this format, as opposed to seeing my manuscript in a (dare-I-say boring?) Word document. Vellum is remarkably easy to use and offers many of the same key functions for revision (namely Find). Any other users out there?
November 27, 2021
On Herding Kittens
It's a balancing act keeping track of the #jessiemachockeyseries inventory. I had HOPED #shootoutthebook would propel Power Plays, Face Off, and Breakaway into the hands of more young readers, but I never dreamed I'd be scrambling for more stock of Books 2 and 4 this close to Christmas. Oh well. It's a good problem to have. Plus, #shootoutthebook (and 19 year old Jessie) seems to appeal to adults. Its dual narrators make it a blend of Young Adult/New Adult. Also, I've made a note to get to work on some fun promotional videos under the heading: The Jessie Mac Academy. I'm clueless on how to use TikTok, but I guess I'm about to find out. Looking forward to climbing on board the "cheese wagon" and seeing where there series takes me in 2022.
November 2, 2021
My First Book of Poetry is Ready!
Am I even a poet? I have no idea, but I do have lots of ideas, so . . . I wrote them down, had them edited, revised them for over a year, parcelled them under one cover, and published them myself. Wanda Harron, my good friend and photographer, included some of her photos of Estevan in the early weeks of the pandemic. Enjoy Something's Different: A COVID Journal in Verse. Or not.
October 5, 2021
Shootout Release: October 15th!
ShootoutPreorder the eBook version here:
https://www.amazon.ca/Shootout-Jessie...
In Shootout, Courtney McIntyre navigates Grade Nine at Estevan Comprehensive School while playing boys hockey for the first time. Meanwhile her sister Jessie is in her second year with the University of Saskatchewan Huskies, discovering the hard way what it takes to be an elite player in an elite league. Will the McIntyre girls have positive impacts on their teams? One thing’s certain. Life—and hockey—are bound to throw some blindside hits.
Shootout revisits the 2013-14 season of the University of Saskatchewan Women’s Huskies, who captured the program’s first Canada West Championship. Four fictional characters, including Jessie, are inserted into the Huskies’ saga, surrounded by the real-life players and coaches
“Maureen Ulrich’s Shootout is an ambitious novel that reaches far beyond the scope of an action-packed hockey story. We see both sisters’ worlds develop in a convincing manner—in terms of their goals, maturing sense of self, connections with peers, and other issues. These range from the dynamics of friendships and families, teamwork, bullying, hazing and peer pressure—to maintaining a sensible balance (whether in a university or high school setting). For each sister, there are bits of romance with puzzling and hurtful challenges. First Nations culture is addressed, along with issues faced by immigrants and by transgender players.” (Alison Lohans, award-winning author)
Shootout is the fourth book in the award-winning #jessiemachockeyseries. Power Plays (Book 1) won a Moonbeam gold medal and was a finalist for the Saskatchewan Book Awards, Snow Willow Awards, and BC Young Reader Choice (Stellar) Awards. Face Off (Book 2) was a recipient of a Moonbeam silver medal. Power Plays, Face Off and Breakaway were originally published by Coteau Books and were relaunched in 2020 by Wood Dragon Books.
https://www.amazon.ca/Shootout-Jessie...
In Shootout, Courtney McIntyre navigates Grade Nine at Estevan Comprehensive School while playing boys hockey for the first time. Meanwhile her sister Jessie is in her second year with the University of Saskatchewan Huskies, discovering the hard way what it takes to be an elite player in an elite league. Will the McIntyre girls have positive impacts on their teams? One thing’s certain. Life—and hockey—are bound to throw some blindside hits.
Shootout revisits the 2013-14 season of the University of Saskatchewan Women’s Huskies, who captured the program’s first Canada West Championship. Four fictional characters, including Jessie, are inserted into the Huskies’ saga, surrounded by the real-life players and coaches
“Maureen Ulrich’s Shootout is an ambitious novel that reaches far beyond the scope of an action-packed hockey story. We see both sisters’ worlds develop in a convincing manner—in terms of their goals, maturing sense of self, connections with peers, and other issues. These range from the dynamics of friendships and families, teamwork, bullying, hazing and peer pressure—to maintaining a sensible balance (whether in a university or high school setting). For each sister, there are bits of romance with puzzling and hurtful challenges. First Nations culture is addressed, along with issues faced by immigrants and by transgender players.” (Alison Lohans, award-winning author)
Shootout is the fourth book in the award-winning #jessiemachockeyseries. Power Plays (Book 1) won a Moonbeam gold medal and was a finalist for the Saskatchewan Book Awards, Snow Willow Awards, and BC Young Reader Choice (Stellar) Awards. Face Off (Book 2) was a recipient of a Moonbeam silver medal. Power Plays, Face Off and Breakaway were originally published by Coteau Books and were relaunched in 2020 by Wood Dragon Books.
#shootoutthebook is nearly here!
In Shootout, Courtney McIntyre navigates Grade Nine at Estevan Comprehensive School while playing boys hockey for the first time. Meanwhile her sister Jessie is in her second year with the University of Saskatchewan Huskies, discovering the hard way what it takes to be an elite player in an elite league. Will the McIntyre girls have positive impacts on their teams? One thing’s certain. Life—and hockey—are bound to throw some blindside hits.
Shootout revisits the 2013-14 season of the University of Saskatchewan Women’s Huskies, who captured the program’s first Canada West Championship. Four fictional characters, including Jessie, are inserted into the Huskies’ saga, surrounded by the real-life players and coaches
“Maureen Ulrich’s Shootout is an ambitious novel that reaches far beyond the scope of an action-packed hockey story. We see both sisters’ worlds develop in a convincing manner—in terms of their goals, maturing sense of self, connections with peers, and other issues. These range from the dynamics of friendships and families, teamwork, bullying, hazing and peer pressure—to maintaining a sensible balance (whether in a university or high school setting). For each sister, there are bits of romance with puzzling and hurtful challenges. First Nations culture is addressed, along with issues faced by immigrants and by transgender players.” (Alison Lohans, award-winning author)
Shootout is the fourth book in the award-winning #jessiemachockeyseries. Power Plays (Book 1) won a Moonbeam gold medal and was a finalist for the Saskatchewan Book Awards, Snow Willow Awards, and BC Young Reader Choice (Stellar) Awards. Face Off (Book 2) was a recipient of a Moonbeam silver medal. Power Plays, Face Off and Breakaway were originally published by Coteau Books and were relaunched in 2020 by Wood Dragon Books.
Shootout revisits the 2013-14 season of the University of Saskatchewan Women’s Huskies, who captured the program’s first Canada West Championship. Four fictional characters, including Jessie, are inserted into the Huskies’ saga, surrounded by the real-life players and coaches
“Maureen Ulrich’s Shootout is an ambitious novel that reaches far beyond the scope of an action-packed hockey story. We see both sisters’ worlds develop in a convincing manner—in terms of their goals, maturing sense of self, connections with peers, and other issues. These range from the dynamics of friendships and families, teamwork, bullying, hazing and peer pressure—to maintaining a sensible balance (whether in a university or high school setting). For each sister, there are bits of romance with puzzling and hurtful challenges. First Nations culture is addressed, along with issues faced by immigrants and by transgender players.” (Alison Lohans, award-winning author)
Shootout is the fourth book in the award-winning #jessiemachockeyseries. Power Plays (Book 1) won a Moonbeam gold medal and was a finalist for the Saskatchewan Book Awards, Snow Willow Awards, and BC Young Reader Choice (Stellar) Awards. Face Off (Book 2) was a recipient of a Moonbeam silver medal. Power Plays, Face Off and Breakaway were originally published by Coteau Books and were relaunched in 2020 by Wood Dragon Books.
July 19, 2021
#shootoutthebook
Shootout, the long anticipated fourth book in the #jessiemachockeyseries, has gone to the formatting stage. Looking forward to sharing it with readers in October!
September 26, 2020
#jessiemachockeyseries update!
I am relaunching my #jessiemachockeyseries--with content updates for 2020. It's strange how not a lot has changed! The series explores girls hockey and teen issues. #powerplaysthebook (which focuses on bullying) is available on Amazon, Kindle, Kobo, and in paperback. I am presently working on a study guide which will align with Saskatchewan's Grade 9 ELA curriculum. Book 2 in the series #faceoffthebook (which focuses on teen binge drinking) will soon be available as well. Please visit @maureenulrichwrites on FB for more info. Audiobooks, #breakawaythebook (Book 3) and a brand spanking new release #shootoutthebook are on their way!
August 28, 2013
On Cliffhangers
Okay. I know. It's been nearly four months since the last tip. I fell off the writing advice wagon for a few months, but I am back.
Chapter endings/cliffhangers, if you will.
It's not a good idea to begin many chapters with "When he woke up in the morning, he . . ." Ending chapters with "She decided to go to bed and deal with it the next morning" isn't a great idea either.
It's better to pick up and drop off action in the middle of conflict or conversation. You have the option to pick up the thread immediately in the next chapter, or jump ahead to the following day or a later scene.
You want to keep your readers hooked. You want them to turn the page and read the next chapter. And the next one, and the next one after that.
To me, the greatest compliment is, "I couldn't put it down. I read it all in one night."
Each chapter should begin and end with a hook. If you have a completed manuscript, go back and read the last sentence of each chapter.
Do you have enough of a hook to entice your reader to turn the page?
Chapter endings/cliffhangers, if you will.
It's not a good idea to begin many chapters with "When he woke up in the morning, he . . ." Ending chapters with "She decided to go to bed and deal with it the next morning" isn't a great idea either.
It's better to pick up and drop off action in the middle of conflict or conversation. You have the option to pick up the thread immediately in the next chapter, or jump ahead to the following day or a later scene.
You want to keep your readers hooked. You want them to turn the page and read the next chapter. And the next one, and the next one after that.
To me, the greatest compliment is, "I couldn't put it down. I read it all in one night."
Each chapter should begin and end with a hook. If you have a completed manuscript, go back and read the last sentence of each chapter.
Do you have enough of a hook to entice your reader to turn the page?
April 30, 2013
On Setting
Okay, so I'm one day late, but 3 blog entries in 3 weeks has got to be a record for me.
Many of the things I wrote last week about character description apply also to setting. A few well-constructed sentences are all that is necessary. Let's look at an example of a setting from Shade and Sorceress by Catherine Egan:
"Eliza Tok was squatting perilously close to the rocky promontory. It was nearly a thirty-foot drop to the crashing surf below. The waves rolled in, one great blue swell after another, smacking against the cliff and bursting into white foam." (p. 1)
Lovely work, Catherine.
Notice I said a FEW well-constructed sentences. In YA, it is dangerous to get carried away with any sort of description. It slows down the pace and the flow.
As with character description, it is wise to have a real model in your mind's eye to help you. Much of the Jessie Mac series takes place in real locations -- though the events are largely fiction. Jodi Palmer's farm near Macoun is actually a combination of my farm and a neighbouring one. In my mind, I know exactly where the house is in location to the barn and the shop.
"I head into the darkness, moving further and further into a region populated only by shapeless mounds of junk and scrub brush. The glow from the yard light doesn't penetrate here . . ." (Face Off, p. 328)
The above passage intersperses details of the setting with narration. That's generally the way I like to handle setting. I prefer not to stop and say, "Hey, this is what everything looks like." I would sooner sprinkle the details throughout, to keep things moving.
My objective is to write a manuscript that readers want to finish in one sitting, reading long into the night.
I guess that would be a good segue into writing chapter endings or cliffhangers or what have you. See you next week!
Many of the things I wrote last week about character description apply also to setting. A few well-constructed sentences are all that is necessary. Let's look at an example of a setting from Shade and Sorceress by Catherine Egan:
"Eliza Tok was squatting perilously close to the rocky promontory. It was nearly a thirty-foot drop to the crashing surf below. The waves rolled in, one great blue swell after another, smacking against the cliff and bursting into white foam." (p. 1)
Lovely work, Catherine.
Notice I said a FEW well-constructed sentences. In YA, it is dangerous to get carried away with any sort of description. It slows down the pace and the flow.
As with character description, it is wise to have a real model in your mind's eye to help you. Much of the Jessie Mac series takes place in real locations -- though the events are largely fiction. Jodi Palmer's farm near Macoun is actually a combination of my farm and a neighbouring one. In my mind, I know exactly where the house is in location to the barn and the shop.
"I head into the darkness, moving further and further into a region populated only by shapeless mounds of junk and scrub brush. The glow from the yard light doesn't penetrate here . . ." (Face Off, p. 328)
The above passage intersperses details of the setting with narration. That's generally the way I like to handle setting. I prefer not to stop and say, "Hey, this is what everything looks like." I would sooner sprinkle the details throughout, to keep things moving.
My objective is to write a manuscript that readers want to finish in one sitting, reading long into the night.
I guess that would be a good segue into writing chapter endings or cliffhangers or what have you. See you next week!
April 22, 2013
On Physical Description
As promised, I am returning to my blog to pen a little advice. I don't know if you're proud of me, but I am!
Okay, back to physical description.
I think this is a really, really important tool for helping your reader to have a visual of each character. Even minor characters are deserving of a physical detail. The detail can be as simple as this:
"You should get her tested for mono," the school secretary says.
"The kissing disease?" Mom asks.
"I've seen a lot of it around here." The secretary peers at me over her reading glasses. "Believe me, I know mono when I see it." (Breakaway, p. 266)
I am hoping the reference to the reading glasses will give the reader a visual. I have a visual of the secretary. I know exactly where she is and what she looks like. I haven't included all these details, but according to Ernest Hemingway's iceberg theory, I don't need to.
The more important the character, the more physical description is required: age, eye colour, hair colour, height (tall or short), skin tone, body type. You don't need to lump these all into one sentence. In fact, it's better if you spread them out into a few, well-constructed sentences. Here's an example from Power Plays (p. 21)
Tyler turns out to be short, scrawny, and at least seventeen. Staggering through the door with a near empty bottle of Crown Royal in his hand, he has a baseball cap jammed backwards on his shaven head and a scraggly goatee.
There should be enough detail in this passage to give the reader a notion of not only Tyler's appearance, but the sort of person he might be too.
To help me keep my characters straight, I often borrow one detail of a REAL person's physical appearance to help me "ground" the character.
Physical description needs to be given as soon as you introduce the character. Otherwise your reader will be creating his or her own visual for the character, or worse, no visual at all. Characters in white space (lack of setting) are bad enough, but formless, shapeless characters in white space make for a whole lot of NOTHING.
Seems like I'm touching on setting too, so maybe I should visit THAT subject next week.
See you then!
Okay, back to physical description.
I think this is a really, really important tool for helping your reader to have a visual of each character. Even minor characters are deserving of a physical detail. The detail can be as simple as this:
"You should get her tested for mono," the school secretary says.
"The kissing disease?" Mom asks.
"I've seen a lot of it around here." The secretary peers at me over her reading glasses. "Believe me, I know mono when I see it." (Breakaway, p. 266)
I am hoping the reference to the reading glasses will give the reader a visual. I have a visual of the secretary. I know exactly where she is and what she looks like. I haven't included all these details, but according to Ernest Hemingway's iceberg theory, I don't need to.
The more important the character, the more physical description is required: age, eye colour, hair colour, height (tall or short), skin tone, body type. You don't need to lump these all into one sentence. In fact, it's better if you spread them out into a few, well-constructed sentences. Here's an example from Power Plays (p. 21)
Tyler turns out to be short, scrawny, and at least seventeen. Staggering through the door with a near empty bottle of Crown Royal in his hand, he has a baseball cap jammed backwards on his shaven head and a scraggly goatee.
There should be enough detail in this passage to give the reader a notion of not only Tyler's appearance, but the sort of person he might be too.
To help me keep my characters straight, I often borrow one detail of a REAL person's physical appearance to help me "ground" the character.
Physical description needs to be given as soon as you introduce the character. Otherwise your reader will be creating his or her own visual for the character, or worse, no visual at all. Characters in white space (lack of setting) are bad enough, but formless, shapeless characters in white space make for a whole lot of NOTHING.
Seems like I'm touching on setting too, so maybe I should visit THAT subject next week.
See you then!
