Wordsmith At Large

By Beth Stewart

London has a richness of community art groups, including the Brush and Palette Club, the Gallery Painting Group, the Lambeth Art Association, and the London Community Artists.

While each occupies a unique niche, all provide camaraderie, education, and exposure.

The Brush and Palette Club (B & P), formed in 1972, grew out of painting sessions organized by artist and teacher Dorthy Heaven. By 1989, the small group had grown to 50; current membership is capped at 110 for practical reasons, and it has a healthy wait list.

B & P Publicity Convenor Marilyn Kidd says many artists join the club because art making can be an isolating activity. Membership allows them to be “stimulated, motivated and inspired.” She says members enjoy participating in art-related activities with the group and “growing together as they learn about new painting techniques.”

The club meets monthly, except for July and August, at Riverside United Church. Members enjoy presentations by invited speakers, trips, and seven hands-on workshops in a variety of media per year.

(Pictured: Brush and Palette artist Linda Deckert’s “High on a Windy Hill”, acrylic, 24 by 28 inches.)

The club strives to provide a supportive environment for members, to provide opportunities to broaden artistic skills, and to promote visual art in the community at large.

What differentiates the B & P Club from other art groups is the nature and quantity of its activities. Each meeting has an invited guest who speaks on a wide variety of topics relating to art. The meetings are also social occasions with time for friendly conversation and interaction during a coffee break. As well, there are two club luncheons each year.

An annual show and sale gives members a specific event to work toward. Working together at the show creates a deep bond as members all pull together to make the event a big success.

The Brush and Palette Club’s next Art Show and Sale is April 9 to 11 at Riverside United Church.

(Pictured: Brush & Palette artist Alice Price-Vermeulen’s “Palimpsest”, mixed media, 12 by 12 inches.)

Kidd joined the group in 2012. She says, “Being a member has encouraged me to persevere and to grow as an artist, and I have benefitted from the friendship and support of other members.” She is also a long-time member of the Gallery Painting Group, where she enjoys “plein air” work. She says, “Each group offers various advantages, and I would not give up either of them!”

For additional information, visit: https://brushandpaletteclub.com/

The Gallery Painting Group (GPG) was formed in 1953 at the recommendation of the president of the Western Art League, which was founded in 1876 to promote art in London, Ontario

It includes 70 local artists who enjoy the plein air painting experience, which is the act of painting outdoors. From May to October, members of the group paint on location on Tuesday and Saturday mornings at various locations in and around the London area.

(Pictured: Gallery Painting Group artist Wendy Reid’s “Off the Trail”, oil pastel on black paper, 9 by 12 inches. From a plein air day at Springbank Park.)

As members interact frequently, official meetings are limited to two per year.

Marily Kidd says, while the group has fewer meetings, members interact frequently from May to October while painting together outdoors in and around London in “fascinating and diverse locations.” Because it’s a smaller group, the sense of community is strong.

(Pictured: On location sketches by GPG artist Len Hughes showing members at work.)

Each fall, the GPG holds a show and sale of the paintings produced by its members throughout the summer. Their next show will take place at First Street. Andrews United Church, October 22nd to 25th, 2026.

For additional information, visit: https://www.gallerypaintinggroup.com/ or interact with the GPG on Facebook: https://www.facebook.com/londonpleinair/

The Lambeth Art Association (LAA) provides support for established and emerging artists in the practice and appreciation of art. It fosters relationships, delivers educational opportunities, and offers exhibition opportunities.

Begun in 1972, with just five members, the Lambeth Art Association now boasts a membership of over 130 artists. LAA members work in oil, acrylic, watercolour, pastel, pencil, fibre, and mixed media. Members meet monthly, from September to May at Riverside United Church. All meetings feature a guest speaker or a hands-on activity. Each year, members enjoy six art-based workshops and community events. Members exhibit their artwork at the association’s popular Art Show and Sale held in the spring of each year.

The next show is April 30 to May 2, 2026, at Lambeth United Church, 4268 Colonel Talbot Road at Main Street. The show will include framed and unframed work in a variety of media. Styles range from traditional to abstract.

Sold work is taken home immediately by its lucky owners and the resulting vacant space is quickly filled with art that has been held in reserve. Savvy visitors come more than once to avoid missing that special piece.

(Pictured: Lambeth Art Association artist Margret Bullock’s “Field of Dreams”, mixed media collage of an imaginary garden scene, 20 by 20 inches.)

Patricia Walker joined the LAA in 2025. She says, “I feel very lucky to be part of the Lambeth group.” When she moved back to southwestern Ontario in 1980, she enquired about joining, but the wait list at that time was years long, so she continued to work in isolation with not a whole lot of excitement about art. This, recalls Walker, resulted in a “period of non-productivity.”

(Pictured: LAA artist Lisa Chiborak’s “Really Big Shoes”, acrylic, 20 by 20 inches.)

Walker says, “The group is friendly and willing to share their techniques, their journey and their frustrations with different mediums. It makes me want to keep creating.” In addition to the LAA, Walker belongs to the London Community Artists, the St. Thomas Art Guild, the Port Stanley Art Guild and the Creative Nomads.

For additional information, visit: https://www.lambethart.com/ or interact with the LAA on Facebook: https://www.facebook.com/lambethartassociation/

The London Community Artists (LCA) is the new kid on the block. It was formed by Wendy Jennings in 2018 in response to the lengthy wait lists to join other clubs.

Membership was initially limited to 50 members, but this was increased to 75 in 2023. Even with the expansion in membership, LCA maintains a wait list of approximately 100 hopefuls. New members are accepted in January to fill any vacancies that have come about throughout the year.

(Pictured: 09 London Community Artists’ Heather Peel, “Autumn Calm”, acrylic (mostly palette knife work), 11 by 14 inches.)

Members’ meetings feature speakers, and there are frequent “Paint Days” at Western Research Park, where members get together to paint and share some special times. The club also offers monthly art challenges in which members submit their best work in response to a specific topic. Entries are reviewed by their peers, and the first and second-place winners receive a gift card for art supplies.

In 2024, they began hosting workshops led by both internal and external experts.

The LCA has established long-term partnerships with Cherryhill Village Mall, Western Research Parks and the Children’s Hospital at London Health Sciences’ Victoria Campus. Members have art on display at each of these locations throughout the year. Their longest-running and most successful display is at the Cherryhill location, where member artists have sold over 140 pieces of art.

(Pictured: “Old Post Office (Cambridge)”, watercolour and ink, 16 by 20 inches, by LCA artist Bill Stephens.)

LCA hosts two major Art Shows each year: one in April and another in November. This year’s Spring Show is scheduled for April 16 to 19, 2026, at The Collider, located in the Western Research Park off Veterans’ Memorial Drive and Bradley Avenue.

Current president Bill Stephens joined in 2019. It is the only club he belongs to, and he has been involved in all the club’s activities.

Membership has served him well in his personal art journey. Stephens says, “I have learned so much from our talented members.”

For additional information, visit: https://londoncommunityartists.ca/

Written by Beth Stewart

Beth Stewart is a writer, educator, and visual artist. She has a B.A. and a B.Ed. from the University of Windsor and a Diploma in Art Therapy from Western University. Beth has worked as an Art Therapist with Canadian war veterans and as a Secondary School Teacher of art and English for the TVDSB. She retired in 2024.

Beth was the arts editor at Scene Magazine from 2004 to 2006. She founded Artscape Magazine in 2006 and served as its editor until 2008. In addition, Beth wrote on the arts for Lifestyle Magazine from 2006 to 2017 and served as the copy editor for The Beat (in print) from 2009 to 2013.

As a visual artist, Beth works mainly in dry media and favours coloured pencil. Over the past decade, Beth’s focus has been on wild and domestic birds. Beth is a member of the Coloured Pencil Society of America, the Gallery Painting Group, the Eclectic Collage Collective, the Lambeth Art Association, and a founding member of the Coloured Pencil Artists of Canada group.

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

Q&A With Elizabeth Durand, Artistic Director of Theatre Aezir

March 31, 2026 by Richard Young

March 31, 2026by Richard Young

What follows is a Q&A Interview with Elizabeth Durand, Artistic Director of the London professional theatre company, Theatre Aezir. The Beat Magazine spoke with Elizabeth about the company’s production of The Shark Is Broken, playing at First Baptist Church from April 9 to 19.

(Pictured: Elizabeth Durand, Artistic Director of Theatre Aezir.)

Q. What inspired Theatre Aezir to select The Shark Is Broken as its Spring production?

I am constantly on the hunt for fresh, intriguing scripts, and The Shark Is Broken immediately stood out. While everyone knows JAWS as the definitive summer blockbuster that launched Steven Spielberg’s career, this play offers something deeper: a profound, behind-the-scenes look at the volatile personalities and relationships that nearly sank the production. The turning point for me was hearing from a Gen Z colleague who saw the show in New York. Despite having never seen the original film, she was captivated by the storytelling and the caliber of the acting. That confirmed it for me—this isn’t just a play for fans of the movie; it’s a powerful human drama that resonates with everyone.

Q. Could you provide some background information about the play?

It’s a fascinating story: the play was co-written by Ian Shaw, who looks exactly like his father, Robert Shaw (the actor who played Quint in JAWS). Ian actually played his father in the first productions! It started small in Brighton back in 2019 and moved to the Edinburgh Fringe before the pandemic hit. Once theatre returned, it became a massive hit in London’s West End, eventually earning an Olivier nomination. We were lucky to have the North American premiere right here in Ontario at Toronto’s Royal Alexandra Theatre in 2022, followed by a smash-hit run on Broadway in 2023. Everywhere it goes, audiences and critics fall in love with it.

Q. Could you provide a brief plot synopsis of the play? Do any of the famous scenes from the film appear in the play?

So, picture this: it’s 1974, and the three stars of Jaws—Robert Shaw, Richard Dreyfuss, and Roy Scheider—are stuck on a tiny boat called the Orca.

What was supposed to be a quick 55-day shoot has turned into a 159-day nightmare. Why? Because the mechanical sharks keep breaking down the second they hit the salt water. So, while the crew is frantically trying to fix “Bruce” the shark, these three huge personalities are trapped together for days on end with nothing to do but drink, play cards, and drive each other crazy. It’s a hilarious and sometimes heavy look at the egos and the bonding that happened when the cameras weren’t rolling.

(Pictured: Josh Cottrell as Robert Shaw, Andrew Dodd as Roy Scheider, and Jackson Balint as Richard Dreyfuss.)

As for the movie itself, you definitely get some iconic moments! The big one is the “Indianapolis” monologue. Robert Shaw actually wrote a lot of that speech himself in real life, so the play shows the “behind-the-scenes” version of how that legendary scene came together. It’s a really cool “meta” moment for anyone who loves the film.

Q. One of your promo pieces for the play encourages people to rewatch (or watch for the first time) the original 1975 film, Jaws. Could you elaborate on that?

You definitely don’t need to see the movie to enjoy the play, but it certainly helps you appreciate why Robert Shaw is so incredibly grumpy in our version! Rewatching the 1975 classic reminds you of the legendary masterpiece the world eventually saw—while our show reminds you of the chaotic reality behind it. It’s the ultimate “Expectation vs. Reality” comparison: the film is the polished final product, but our play reveals a broken shark, a sinking boat, and three lead actors who were five minutes away from throwing each other overboard. Plus, for the eagle-eyed fans, the play is packed with “Easter Eggs” that make the experience even more rewarding.

(Pictured: Andrew Dodd as Roy Scheider.)

Q. The main characters (actors) depicted in the play are well known to most moviegoers. What challenges have you faced in bringing these folks to the stage?

In theatre, there’s a well-known maxim that casting is 80-85% of the show. I would never have programmed The Shark Is Broken without total confidence that we could find actors to inhabit these legendary roles. We are incredibly fortunate to have Josh Cottrell, one of London’s finest actors, who brings the perfect look and age to the role of Robert Shaw—he is truly magic on stage. For Roy Scheider, Andrew Dodd was the only actor I considered after his stellar performance in Misery. To complete the trio, our search for the high-energy Richard Dreyfuss led us to Jackson Balint from Windsor, who perfectly captures Dreyfuss’s iconic volatility. Under Dylan Trahan’s direction, these three have truly brought these Hollywood giants to life.

(Pictured: Josh Cottrell as Robert Shaw.)

Q. Obviously, the shark plays a major role in the success of Jaws. Does the shark appear in The Shark Is Broken?

The shark doesn’t make a physical appearance, but Bruce—as the mechanical shark was famously nicknamed—is a constant, looming presence! Ironically, Steven Spielberg named the shark after his lawyer, which tells you everything you need to know about his relationship with his lawyer! While you won’t see a fin on stage, you’ll certainly feel the weight of his mechanical failures and the havoc they wreaked on our three protagonists.

(Pictured: Jackson Balint as Richard Dreyfuss.)

Q. How would you describe the sets, props, and costumes of the play?

Our production design is a love letter to the Orca. Designer and builder John Beverley has created a stunning, “sliced-open” version of the famous vessel, allowing the audience to peek directly into the high-tension environment where the actors spent those 159 days. The set features a meticulous recreation of the film’s iconic banquette and table, surrounded by authentic nautical props and décor curated by Doug Cottrell. Framing the entire scene is a breathtaking 12’ x 20’ backdrop of the open ocean and sky. To complete immersion, the costumes are direct recreations of the actors’ film attire. However, getting that 1970s “Dreyfuss” bleach job on the denim jacket was a production in itself!

(Pictured: Scene Painter Adriel Kuepfer.)

Q. Tell me about your venue – First Baptist Church.

We love the versatility of our space at First Baptist! By converting the gym into an intimate black box theatre, we create a unique atmosphere that our audience finds incredibly welcoming. Thanks to a recent grant and our amazing donors, we’ve moved away from borrowed wooden risers and now own our own Staging Canadell risers. This means every seat in the house is a great one! Plus, the space is fully accessible via elevator, with restrooms conveniently located on both floors.

Q. What can audiences expect from The Shark Is Broken?

I think the biggest surprise for our audience is going to be the intimacy of it all. Because we’ve turned the gym into this tight, professional black box space, you aren’t just watching a play from a distance—you’re basically a stowaway on the Orca. You can expect to feel that salt-air tension and the claustrophobia of three massive egos trapped in a tiny cabin. It’s also much funnier than people expect. There’s this constant, witty friction between the three leads that keeps you laughing, but then it’ll suddenly pivot into a really raw, human moment about the price of fame or the fear of failure. Essentially, you can expect a ‘masterclass in character.’ It’s a fast-paced, 90-minute dive into the messy reality behind a masterpiece. You’ll walk out of the theater looking at that movie—and those three actors—in a completely different light. It’s a bit of a ‘behind-the-curtain’ thrill.

Q. Is there anything else you think readers should know about The Shark Is Broken?

If there’s one thing I want people to know, it’s that this show is a massive labor of love from a team that is operating at the top of its game.

We aren’t just ‘putting on a play’ in a gym; we’ve completely reimagined our space at First Baptist. Between the brand-new seating risers, which we just debuted (thanks to our incredible donors!), and the insane level of detail in John Beverley’s set, we are pushing Theatre Aezir to a whole new level.

I really want to highlight the atmosphere, too. Craig is doing some brilliant work with the lighting to capture that ‘stuck at sea’ feeling, and Doug has been a machine sourcing authentic nautical props—you can almost smell the salt air. But the real secret weapon is the soundscape. Avery is a master at building that immersive environment, and our director, Dylan, has had a hand in every single layer of it to make sure the audience feels every wave hitting the hull.

From Mike Semple keeping the technical gears turning to our cast—Josh, Andrew, and Jackson—finding the soul of these three icons, it’s been a total collaboration. At its heart, The Shark Is Broken is about people trying to create a masterpiece while everything around them is falling apart. I think anyone who’s ever tried to build something or lead a team is going to see themselves in this. It’s gritty, it’s hilarious, and it’s a great night of theatre for London. We can’t wait to welcome you aboard!

Q. Tell me about Theatre Aezir, its origins, mandate, and future plans.

Theatre Aezir really started from a simple, stubborn idea: that London deserved a space for professional-grade, provocative theatre that doesn’t just play it safe. We wanted to create ‘Theatre for the 21st Century’—shows that are lean, mean, and intellectually curious. Our artistic aesthetic has always been about the actor and the text. We strip away the fluff to focus on high-stakes stories that stay with you long after you leave your seat. We want to challenge our audience, not just entertain them.

As a registered charity, our mandate includes providing work and educational opportunities for theatre practitioners and actors, and we strive to build community and deepen the city’s cultural life.

As for our origins, we’re a theatre company without a theatre. Although rather nomadic, First Baptist has proved to be a great venue, as this is our third production in this space. We’ve been proving that you don’t need a massive proscenium arch to create fantastic drama.

Looking at the future? It’s all about transformation. Thanks to some incredible support from our donors and the community, we’ve been able to invest in professional black box equipment—like our brand-new seating risers—that allows us to turn any space into a high-end theatre. We’re progressing toward more immersive, technically ambitious work (like the ‘sliced’ Orca you’ll see in The Shark Is Broken). In the fall, we’ll move again for Bluebirds, which we will produce in the RCR Museum. Our goal is to keep growing as a hub for local talent and a destination for theatergoers who want something a bit more ‘edge-of-your-seat.’ We’re just getting started.

All Photos by Ryan Memarazdeh.

CAST
Richard Dreyfuss	Jackson Balint
Roy Scheider	Andrew Dodd
Robert Shaw	Josh Cottrell
Stage Director	Dylan Trahan
Stage Manager	Anna Whitehead

Technical Artists
Technical Director	Mike Semple
Producer	Elizabeth Durand
Costume designer	Elizabeth Durand
Sound designer	Avery Brown
Set Designer/Builder	John Beverley
Lighting Designer	Craig Blackley
Sound Operator	Jessica Norrie
ASM	Jill Canterbury
Props Master	Doug Cottrell
Photographer	Ryan Memarzadeh
Volunteer Coordinator/House Manager	Catherine Mazhandu
Marketing/Graphics	Kaitlyn Bell
Fight Director	Nick Van Burek
Scene Painters	Miranda Hews, Adriel Kuepfer
Prosthetics	Anthony Veilleux

IF YOU GO:

What: Theatre Aezir presents The Shark Is Broken.

When: April 9 to April 19, 2026.

Where: First Baptist Church, 568 Richmond Street, London, ON.

Tickets: For more information and tickets, visit http://www.theatreaezir.com

Follow Theatre Aezir on Facebook and Instagram.

Q&A Interview conducted by Richard Young, The Beat Magazine’s Publisher & Content Manager.

The Importance of Being Earnest: A Riot of Colour and Wit – If You Can Keep Up!

March 29, 2026 by Richard Young

March 29, 2026by Richard Young

Reviewed by Jo-Anne Bishop

There’s a reason Oscar Wilde’s The Importance of Being Earnest has endured for well over a century. Premiering on Valentine’s Day in 1895 at London’s St. James Theatre, the play is a razor-sharp satire of Victorian society, skewering everything from marriage and class to the absurdity of social expectations. Wilde’s signature style—fast-paced, highly stylized, and dripping with irony—remains both its greatest strength and, at times, its greatest challenge.

As quoted in the director’s note, “rarely has the stiletto of dissident humour been driven so smilingly between the ribs of bourgeois convention.” This line from Neil Bartlett perfectly captures Wilde’s enduring bite.

Now playing at the Grand Theatre, this production, directed by Alistair Newton, leans boldly into theatricality, delivering a visually striking and energetically performed interpretation that feels surprisingly modern and relevant in 2026. Wilde’s themes of performative identity, social façades, and the tension between authenticity and expectation still resonate today, perhaps even more in an age of social masking, highly curated personas and digital selves.

That said, this is not a production you can passively absorb.

(Photo by Dahlia Katz.)

I found myself needing time to sit with the show afterwards. The rapid-fire dialogue and heightened language, true to Wilde, can be difficult to follow, especially if you’re not already familiar with the story. There were moments where I lost the thread entirely, only to piece things together in retrospect. For audiences new to the play, a bit of homework beforehand will go a long way. If you have a short attention span or struggle with dense, fast-paced English dialogue, this is one where preparation really matters.

Visually, the production makes a striking and very bold statement. Set designer Michelle Tracey creates three distinct worlds across the acts: a lush, all-green opening (down to the piano and cigarette case), a fully yellow second act, and a vivid red-and-yellow third. The only figure fully in red is the formidable Aunt, commanding attention in a room that mirrors her dominance. It’s an ambitious and cohesive design, though at times, its intensity borders on overwhelming.

(Photo by Dahlia Katz.)

The costumes, designed by Judith Bowden, are pitch-perfect: bright, bold, and beautifully in sync with the set’s colour story. One exception is Cecily, whose costume felt slightly muted by comparison, causing her to fade visually in moments where she might otherwise shine. At the same time, it perfectly separated her character from the others, showing the contrast between the city’s pomp and the country’s quiet reserve.

(Photo by Dahlia Katz.)

The dialect work, coached by Phyllis Cohen, is strong throughout, helping anchor the heightened language in both clarity and rhythm.

Performance-wise, the cast is superb across the board. Deena Aziz brings warmth and precision to Miss Prism, while James Daly’s Algernon Moncrieff is delightfully playful. Julien Galipeau grounds John Worthing with charm, and Kaylee Harwood delivers a sharp, engaging Gwendolen Fairfax. As Lady Bracknell, Claire Jullien commands the stage with authority and wit, while Ben Sanders capably fills multiple roles, including Reverend Canon Chasuble and Lane.

Standout performances for me came from Billy Lake as Lady Stella Clinton and the Merriman—whose drag performance drew some of the biggest laughs of the evening—and Mirabella Sundar Singh as Cecily Cardew, who brought a delightful presence and nuance to the role.

Ultimately, The Importance of Being Earnest isn’t going to be for everyone, and this production doesn’t try to soften its edges. It’s fast, it’s dense, and it demands your attention. But if you’re willing to meet it on its level, it offers a rewarding, visually dazzling, and often very funny experience. And while there may not be a distinct message or lesson to learn, it makes a bold statement.

Overall, this is a vibrant, well-directed production with exceptional performances, inventive design, and a distinctly modern pulse. Just be prepared to keep up.

IF YOU GO:

What: Oscar Wilde’s The Importance of Being Earnest, Directed by Alistair Newton

Where: The Grand Theatre, 471 Richmond St, London, Ontario

When: March 24^th to April 12^th, 2026.

Tickets: $25-97, available at the Box Office or online at The Importance of Being Earnest | The Grand Theatre

Reviewed by Jo-Anne Bishop

Background and Experience in the Arts

My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.

I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23^rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/, and sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.

Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.

So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.

A Killer Performance Anchors a Sharp “Prescription: Murder”

March 22, 2026 by Richard Young

March 22, 2026by Richard Young

Reviewed by Jo-Anne Bishop

(Pictured: Cast of Prescription: Murder, Tameka Brown, Eve Cohen, Andre Cormier, David Pasquino, Sam Didi, and Makayla Ashenden. Photo Credit: Ross Davidson.)

Murder is rarely this polished – or this fun to watch.

On the Auburn Stage at the Grand Theatre in London, Ontario, Prescription: Murder wastes no time pulling its audience into a sleek, slow-burning game of cat and mouse. Running March 19–29 and directed by Stephen Mitchell, this black box production leans into intimacy and largely thrives because of it.

Originally written by William Link and Richard Levinson, the play serves as the foundation for the iconic television detective Columbo. The story centres on a brilliant and calculating psychiatrist who believes he has devised the perfect crime, only to find himself gradually entangled in a battle of wits with the seemingly unassuming Lieutenant Columbo. What unfolds is less a traditional whodunit and more a tense psychological chess match, where the outcome feels inevitable, but the journey is where all the intrigue lies.

(Pictured: David Pasquino as Lieutenant Columbo. Photo Credit: Ross Davdson.)

The ensemble is tight and reliable across the board. Makayla Ashenden brings a grounded vulnerability to Susan Hudson, while Tameka Brown and Eve Cohen offer strong, steady support as Miss Petrie and Claire Flemming. Sam Didi moves seamlessly through dual roles, and David Pasquino’s Lieutenant Columbo is understated, patient, and quietly probing—exactly what the role demands.

But let’s be honest: this is André Cormier’s show.

(Pictured: Andre Cormier as Dr. Roy Flemming. Photo Credit: Ross Davidson.)

As Dr. Roy Flemming, Cormier delivers a performance that is sharp, controlled, and magnetic. He walks a perfect line between charm and menace, with only the slightest of line slips in an otherwise near-flawless turn. What stands out most is his precision. Every look and every pause feels intentional. His seething, barely contained irritation with Columbo simmers just beneath the surface, and it’s riveting to watch. You don’t just see the character unravel; you feel it.

The staging makes smart use of the black box space, carving out distinct environments—the doctor’s office, reception area, apartment, and Columbo’s workspace—without overcomplicating things. A few of the scene changes occasionally drag a beat too long, but they’re supported by effective lighting and sound that keep the tension alive.

(Pictured: Tameka Brown as Miss Petrie, Andre Cormier as Dr. Roy Flemming, and Eve Cohen as Claire Flemming. Photo Credit: Ross Davdson.)

Costuming and attention to detail further ground the production in authenticity. Each character is clearly defined through wardrobe, but it’s Lieutenant Columbo who benefits most from these thoughtful choices. David Pasquino appears perfectly dishevelled with mussed hair, a slightly rumpled coat, and even an untied shoe that subtly reinforces the character’s offbeat, absent-minded persona. It’s a small but effective touch, and one that adds texture and believability without feeling trite or overstated.

(Pictured: Andre Cormier as Dr. Roy Flemming and David Pasquino as Lt. Columbo. Photo Credit: Ross Davdson.)

There are a few minor cracks in the illusion. Some set pieces wobble when doors are slammed, which briefly pulls focus. But these moments are small and quickly forgotten. Overall, this Prescription: Murder is lean, engaging, and anchored by a standout central performance. It’s a confident piece of theatre that knows exactly what it’s doing—and for fans of classic detective drama, it absolutely delivers.

IF YOU GO:

What: DJP Productions presents Prescription: Murder by William Link and Richard Levinson

When: March 19-29, 2026

Where: Auburn Stage, Grand Theatre, 471 Richmond St, London Ontario.

Tickets: $31.70-$36.70 Prescription: Murder | The Grand Theatre

Reviewed by Jo-Anne Bishop.

Background and Experience in the Arts

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.

So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.

Q&A Interview with David Pasquino, Founder of DJP Productions

March 18, 2026 by Richard Young

March 18, 2026by Richard Young

What follows is a Q&A Interview with David Pasquino, founder of DJP Productions, who also plays Lieutenant Columbo in the company’s inaugural production, Prescription: Murder, which plays on the Auburn Stage at the Grand Theatre from March 19 to 29.

*(Pictured: DJP Productions founder David Pasquino in character as Lt. Columbo. Photo by Ross Davidson.)*

Q. How did Prescription: Murder come about? Is it my understanding that its origins are to be found in an episode of the beloved TV series Columbo? Which came first – the play or the TV show?

It’s a great question, and the answer is a bit of a twist worthy of Columbo himself.

Most people assume Prescription: Murder came after the TV series, but in fact, it’s where Columbo began. The story first appeared in March 1960 as a short piece by William Link and Richard Levinson in Alfred Hitchcock’s Mystery Magazine, featuring a detective named Lt. Fisher.

The next version of the story was called Enough Rope and was featured in alive television drama on The Chevy Mystery Show. That’s where we first encounter Lt. Columbo. In the show, Dr. Flemming and his wife plan a weekend trip to Toronto (as opposed to upstate New York, as we see in the play)!

That version evolved into the stage play Prescription: Murder in 1962, which toured successfully and was headed for Broadway before the untimely death of its lead actor, Thomas Mitchell. It wasn’t until 1968 that the story was adapted into the now-iconic TV special starring Peter Falk, launching the beloved Columbo series as we know it.

So, the origin story actually runs in reverse of what most people think:
short story → live TV → stage play → TV special.

Q. What motivated you to select this particular play for DJP Productions’ first production?

Honestly? It’s Pat Sajak’s fault!

A couple of years ago, I came across an article about what Pat planned to do after Wheel of Fortune. Surprisingly, it wasn’t retirement, it was community theatre! Even more surprising? He was stepping into the role of Dr. Flemming in Prescription: Murder at the Hawaii Theatre for a fundraiser. I had no idea that Columbo had started as a play!

That stopped me in my tracks. I had grown up watching Columbo with my family, but I had no idea the character originated on stage. Curious, I ordered the script, and the moment I read it, I was hooked. The tension, the structure, the cat-and-mouse dynamic, it all felt tailor-made for live theatre. And somewhere along the way, I had a realization: I need to see this on stage… and I want to play Columbo.

I brought the idea to my talented wife, Diana Tamblyn, and instead of talking me out of it, she leaned in. She offered to take on the marketing and promotion, and together we saw the opportunity: a smart, suspenseful story with a built-in nostalgia factor that we felt would really resonate with London audiences.

So, what started as a late-night click on an article quickly turned into something much bigger: the launch of DJP Productions and our first production.

Q. Could you provide a brief plot synopsis of the play?

Without giving too much away? Okay: a murder has taken place. A certain unkempt, fumbling, cigar-smoking detective appears on the scene and must unravel the mystery while matching wits with a brilliant killer.

Q. Why did you choose to stage the play at the Auburn Theatre?

I’ve performed there before, so I already knew how special the space is, it has this intimate energy where the audience feels close enough to be part of the story, but still large enough to create real theatrical impact. For a show like Prescription: Murder, where tension and subtlety matter, that balance is everything.

As a first-time producer, that “middle ground” was important. I didn’t want something too small or something overwhelming. The Auburn sits perfectly in that sweet spot: ambitious, but manageable.

There’s also a practical side. It’s a great central location, and having the support of The Grand Theatre behind the scenes, especially for ticketing, adds a level of professionalism and confidence that’s invaluable for a first production.

To top it off, our Director, Stephen Mitchell, worked as a technician in the space for many years, so he is intimately familiar with it. In a lot of ways, the Auburn wasn’t just a venue choice; it became part of the foundation that made launching DJP Productions feel possible.

Q. The Lt. Columbo character, played so marvellously by the late Peter Falk, with all his quirks and mannerisms, must be a hoot to play. Tell me about how you prepared to play the character.

You’d think the first thing I’d do is binge-watch Columbo—but I actually did the opposite.

Peter Falk’s performance is so iconic, so deeply ingrained in all of us, that I knew if I immersed myself in it again, I’d end up doing an imitation of him, and that’s not what this play calls for. Since this version of Columbo actually predates the TV series, so my goal was to go back to the source.

Instead, I lived in the script. I read it over and over, really digging into the stage directions, the rhythm of the dialogue, the subtle cues the writers embedded. I wanted to understand who Columbo was before he became the trench coat, the cigar, the cultural icon.

That said, you can’t completely escape Peter Falk, and I wouldn’t want to. There are a few small, intentional nods in my performance, and I’m sure some of those familiar quirks will surface naturally. But the aim isn’t to replicate—it’s to rediscover.

It will be interesting to hear from people what they think. Regardless, trying to step into the shoes that Peter Falk wore so well for so long is a daunting task, and I hope that people will find my Columbo both fresh and… comfortably familiar.

*(Pictured: Tameka Brown as Miss Petrie, André Cormier as Dr. Roy Flemming, and David Pasquino as Lt. Columbo. Photo by Ross Davidson.)*

Q. What have been your major challenges getting into the character? Any fear that audiences will spend too much time comparing your portrayal to that of Falk?

I have woken up early many mornings worrying about exactly that! Of course, I want to pay homage to Peter Falk’s Columbo, but I don’t want to be David Pasquino playing Peter Falk playing Columbo.

Again, that’s where the script comes in because it was written before Peter Falk ever took on the role, so my responsibility was to stay true to that original interpretation. I even considered dyeing my hair to resemble him more closely—but my wife made a great point: not looking like Falk might actually help the audience separate my Columbo from his.

Q. What can audiences expect from Prescription: Murder?
For those audience members who are fans of Columbo, hopefully a pleasant visit with a familiar friend. For those who are new to Columbo, an introduction to a cast of interesting, fun characters and a visit to a time before cell phones!

And for both, an enjoyable evening experiencing the twists and turns in a smart, fun story, watching a game of cat and mouse between two brilliant but unconventional people, where the outcome may be known, but how they get there is all the fun!

Q. Tell me about DJP Productions, its origins, mandate and future plans.
I set up DJP Productions for the sole purpose of putting on this show. “DJP” may be my initials, but it could also stand for “Discover Joy and Passion,” which is what I hope that everyone involved in this show, cast, crew and audience, will experience.

As for the future… let’s see how this one goes, and then I’ll see what I’m up for. Although I have had a few people approach me with ideas!

Q. Is there anything else you think our readers should know about DJP’s production of Prescription: Murder?

Let’s all have some fun and enjoy the show!

Cast:

Tameka Brown – Miss Petrie
Andre Cormier – Dr. Roy Flemming
Eve Cohen – Claire Flemming
Makayla Ashenden – Susan Hudson
David Pasquino – Lieutenant Columbo
Sam Didi – Dave Gordon/Delivery Person

Crew:

Stephen Mitchell – Director/ Sound & Set Design
Mariann Sawyer – Stage Manager
Jessica Norrie – Assistant Stage Manager
Barbara Rand – Props Lead
Nancy Daoust – Props Assistant
Tannis Daoust – Costumes
Diana Tamblyn – Marketing & Promotion
Rob Coles – Lighting Design
David Pasquino – Producer

IF YOU GO:

What: DJP Productions presents Prescription: Murder.

When: March 19 to March 29, 2026.

Where: Auburn Stage at the Grand Theatre, 471 Richmond Street, London, ON.

Tickets: Available in-person at the Box Office, by phone at 519.672.8800, and online at Prescription: Murder | The Grand Theatre

6 Bits Of Writing Advice From Isaac Asimov

January 2, 2026 by Richard Young

About Isaac Asimov

Isaac Asimov was born 2 January 1920 and died 6 April 1992. The American writer was born in Petrovichi, Russia. During his lifetime, Asimov, along with Robert A. Heinlein and Arthur C. Clarke, was considered one of the ‘Big Three’ science fiction writers.

His work often explored themes like the future with robotics, and the possible moral implications that face artificial intelligence. I, Robot is one of his most widely known written works.

He is one of the most prominent science fiction writers of our era. Asimov is to the genre what Tolkien is to fantasy: an influence that touches almost all subsequent work by other writers.

Asimov had a lifetime as a writer of books and short stories, but also essays and a vast letter collection. In total, Asimov has more than 500 books in his bibliography – and eventually, released special catalogues of his work to keep track.

His work, including the Three Laws Of Robotics and tales like I, Robot, have even inspired real-life research into robotics, morality, and user-safety.

How should a self-driving car react to a potential accident, for example? Asimov raised important questions like these through his work.

6 Bits Of Writing Advice From Isaac Asimov

1. Learn The Rules

‘Unfortunately, in many cases, people who write science fiction violate the laws of nature, not because they want to make a point, but because they don’t know what they are.’ – Conversations with Isaac Asimov

Fiction needs rules.

Science fiction relies on a mixture of what’s real, and what could be. Asimov points out that a writer must understand basic rules (like physics or gravity) before they are bent for a story.

A writer can’t just say an object defies gravity. The writer has to know something about gravity first.

Rules exist, especially in science fiction, such as what happens when a time traveller meets their past self.

2. Writers Influence

‘It is the writer who might catch the imagination of young people, and plant a seed that will flower and come to fruition.’ – Past, Present and Future

All writers can influence the reader’s mind.

It’s a responsibility that every writer should remember. Words can enthral, inspire, enrage, or unhinge.

Markets ban overly violent fiction, for one example, because of the potential negative impact on readership. Books like Stephen King‘s Rage have been removed from circulation, by the author’s request, after it was found in the locker of an attacker.

Remember: words have impact, and use them with responsibility.

3. Writing Is Solitary

‘Writing is a lonely job. Even if a writer socializes regularly, when he gets down to the real business of his life, it is he and his typewriter or word processor. No one else is or can be involved in the matter.’ – I, Asimov: A Memoir

Being a writer seems social, but isn’t.

Book releases make up less than 1% of what a writer does: elaborate dinner parties account for even less of the writer’s professional time.

A writer writes, and does so alone. A writer doesn’t call their publisher to watch them write.

When you write, it’s just you and the keys.

4. Writing Is Prediction

‘Science fiction writers foresee the inevitable, and although problems and catastrophes may be inevitable, solutions are not.’ – How Easy To See The Future, Natural History Magazine

Science fiction is often predictive.

Smartphones appeared in Star Trek decades before the popularity of modern devices. Asimov would write about the Laws Of Robotics long before artificial intelligence could hold a full conversation.

Asimov also speaks of human nature. Entire civilisations have come to an end due to lack of foresight, or eventual lack of resources.

Science fiction writers can benefit, greatly, from the study of anthropology and human nature. To know what we might do in future, it matters how humans have acted in the past.

5. Write To Be Clear

‘I made up my mind long ago to follow one cardinal rule in all my writing: to be clear. I have given up all thought of writing poetically or experimentally, or in any of the other modes that (if I were good enough) get me a Pulitzer prize.’ – Introduction To Nemesis

Plain language is what makes a best-seller that can be enjoyed by anyone who reads it.

One can’t expect to sell a million copies of a book that only 10% of that million would fully understand. That’s the essence of what Asimov meant with the above quote.

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Always write to be clear.

The rule applies for anything, from an email to a short story.

6. Type, Don’t Brood

‘If my doctor told me I had only six minutes to live, I wouldn’t brood. I’d type a little faster.’ – Life Magazine, January 1984

Type, don’t brood.

Writers can do an awful amount of things that aren’t writing. Resist the compulsion to check social media, play games, or boil an egg when you should be writing.

Procrastination does not lead to great stories, or productive emails.

Asimov said it straight.

If you type, you’ll have something you can edit. But if you do everything else, you’ll look back on an empty few hours with no work done.

The Last Word

We hope these bits of writing advice from Isaac Asimov help you with your writing.

By Alex J. Coyne. Alex is a writer, proofreader, and regular card player. His features about cards, bridge, and card playing have appeared in Great Bridge Links, Gifts for Card Players, Bridge Canada Magazine, and Caribbean Compass. Get in touch at alexcoyneofficial.com.

If you enjoyed this, you will love:

Top Tip: Find out more about our workbooks and online courses in our shop.

Quotable Quote About Writing, December 26, 2025.

December 26, 2025 by Richard Young

(Pictured: Carlos Fuentes)

10 QUOTABLE TIPS FROM OSCAR WILDE ON WRITING

October 16, 2025 by Richard Young

In this post, we share 10 quotable tips from Oscar Wilde on writing.

Oscar Wilde was born 16 October 1854, and died 30 November 1900. Wilde was an ‘Irish wit, poet, and dramatist whose reputation rests on his only novel, The Picture of Dorian Gray (1891), and on his comic masterpieces Lady Windermere’s Fan (1892) and The Importance of Being Earnest (1895).’

And his writing is delightful. Every sentence in The Picture of Dorian Gray is quotable for better or worse.

His plays capture your attention with wonderful wordplay. And, his writing will leave you in despair, because you will never be as good a wordsmith as Oscar Wilde was on his worst day.

So, let us lament at this fact and learn what we can from the world’s wittiest writer.

10 Quotable Tips From Oscar Wilde On Writing

1. ‘I am so clever that sometimes I don’t understand a single word of what I am saying.’

–The Happy Prince and Other Tales

If you don’t understand what you are saying, why should I? Don’t be so clever you become unreadable.

Edit your work until even the densest reader will think it is witty.

2. ‘The good ended happily, and the bad unhappily. That is what fiction means.’

–The Importance of Being Earnest

This is a good thing to remember for anyone who wants to subvert the expectations of readers.

That is to say, don’t do it. People read fiction to get away from reality, not to be told about it. They like (mostly) happy endings.

3. ‘An idea that is not dangerous is unworthy of being called an idea at all.’

–The Epigrams of Oscar Wilde

Much of what Wilde wrote about was controversial and it got him in trouble. At the same time it got him noticed and, well, we are still talking about him.

4. ‘It is what you read when you don’t have to that determines what you will be when you can’t help it.’

–The Decay of Lying

A writer’s style is not going to be determined by set-works from English class, but by the thousands of books you read just because you want to.

Particularly, the one’s you read over and over again.

Keep that in mind when you cultivate a writing style.

5. ‘A man who does not think for himself does not think at all.’

–The Soul of Man under Socialism

If you have a boring mind, it will have boring thoughts, and for the love of God please don’t make me read the books it writes!

6. ‘Books are never finished. They are merely abandoned.’

–The Picture of Dorian Gray

Authors always write more than they share with their audience. Even bestseller authors have abandoned manuscripts.

Sometimes, they will never be finished but, you will learn to live with it.

7. ‘There are no more than two rules for writing: having something to say, and saying it.’

–The Picture of Dorian Gray

There are, however, a number of best practices which we cover in several good courses.

8. ‘Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words?’

–The Picture of Dorian Gray

Words tend to stick in the mind even late at night when one wants to sleep.

Sometimes, writing them down allows a writer to get on with their life.

9. ‘There is no such thing as a moral or an immoral book. Books are either well written or badly written.’

–The Picture of Dorian Gray

If you have a good idea and know you can write it well, don’t let a sense of morality stop you.

Goodness knows it hasn’t stopped some really awful and awfully good things from being published.

10. ‘If one cannot enjoy reading a book over and over again, there is no use in reading it at all.’

–Writer’s Digest

A good writer should aim for this. You should write a book that will captivate a reader on their first reading just as much as their tenth.

I have a few books that are held together with goodwill and Sellotape that attest to this statement.

Bonus Tip: ‘Be yourself; everyone else is already taken.’

I particularly like this last quote because it is one of the most famous Wilde quotes and there is no evidence he ever wrote it.

I think this would please him.

TIP: If you want help writing a book, buy The Novel Writing Exercises Workbook.

The 7 Pillars Of Historical Fiction

October 14, 2025 by Richard Young

Are you a fan of historical fiction? Would you like to write a historical novel on your own? In this post, we define the 7 pillars of historical fiction to help you on your way.

This is part of a series exploring the pillars of literary genres. Previously, we have written about:

In this post, we will explore the seven pillars of historical fiction.

What Is Historical Fiction?

The Historical Novel Society defines the genre as describing events set at least 50 years in the past. The author must write from research rather than personal experience. That excludes most autobiographical fiction.

According to Wikipedia, historical fiction is ‘a literary genre in which a fictional plot takes place in the setting of particular real historical events.’ This places this particular genre somewhat between a documentary and a completely fictional story.

This is exactly what creates its secret of success. Usually, readers of historical fiction are very interested in history. They could read a factual history book. They don’t because they love how historical fiction makes history come alive. Let’s look at how it’s done.

Some Great Examples Of Historical Fiction

The 7 Pillars of Historical Fiction

Pillar #1 – Choose An Era

It is impossible to write about history as such. You must narrow it down. Choose an era that interests you personally, as you will spend a lot of time with it.

Consider that the market of historical fiction is vast. Some chapters of history have been covered extensively. You might want to avoid those, as it would make it harder for you to place your book on the market.

Once you’ve chosen your era, you can set to work.

Pillar #2 – Extensive Research

Readers of historical fiction already know a lot about history. They’ve watched all the documentaries. They’ve read all the books. As a writer, you need to compete with that knowledge!

Writers need to know more than the historical facts. You need to go to the library and delve into the archives. You need to visit historical sites. You need to become a historical detective. Here’s a post to help you with that research. Writers of historical fiction can easily spend years researching.

If you don’t do your homework properly, readers will find out. They will put your book away and never open it again. To avoid this, look at the next pillar.

Pillar #3 – Historical Accuracy

Historical accuracy is a must in this genre. But how do you achieve it? By treating the era you’ve chosen as the setting of your novel. This means you need to provide the reader with the correct details of everyday life. What clothes did people wear? What did they eat? What were some of the customs and social norms? Last, but not least: you need to know the language they would choose.

Here’s an example: Conan Doyle’s stories about Sherlock Holmes are set in the Victorian era. Let’s say I were to write a story about a fictional companion of Holmes. My detective couldn’t wear a baseball cap. That headgear is much too 20th-century. Men at the time wore a top hat, for example, or Holmes’s iconic deerstalker. How would they greet each other? Would they say, ‘What’s up?’ No, their greeting would be much more formal, like ‘Good Day.’ That’s the extent of historical accuracy.

[Top Tip: If you’re looking for help with setting, buy our Setting Up The Setting Workbook.]

Pillar #4 – Know Where To Take Creative Liberties

The main rule of historical fiction is that you need to stay within the historical framework provided by the facts. Known historical figures cannot act out of character.

When you do your research, note which questions about your chosen era have been answered extensively. Those are the topics that will get you in trouble when you bend the truth. So, when you write about the Tudor era, don’t question how many wives King Henry VIII had. We know. These are the major historical events that should take place off-stage.

Instead, look for questions that haven’t been asked yet. Those provide unique angles that grant you the leeway you want as an author. To stick with our example, ask if there had been a fictional duke in the Tudor era who had more wives than Henry VIII? Or: what did the priest think who married Henry to all his wives?

Pillar #5 – Strong Characters

Readers of historical fiction want history to come alive for them. The easiest way for authors to achieve this is to devise an exciting setting (see above) and a cast of strong characters.

Characters may include real historical figures. Usually, historical fiction weaves them into the background. Your main character should be fictional. Let this individual grant us first-hand experience of the period with all its struggles, confines, and joys.

Ellis Peters’ Cadfael series is a great example of this. These books show us Brother Cadfael, a medieval monk. He used to be a crusader and has travelled extensively. He solves crimes within the restricted possibilities of medieval science. In the Cadfael books, we also learn a lot about the everyday life of a monk in the Middle Ages!

Remember that action defines character. So, make sure you include enough plot to make your characters develop. Let us in on their inner thoughts by using more showing, rather than telling (here’s a blog to help you with ‘show, don’t tell’).

Pillar #6 – Sound Authentic

Finding the right tone for your historical novel will be a challenge. Your text needs to sound authentic, as if it had been written in your chosen period. The reader needs to believe your story really could have happened at the time.

Setting and diction help with that. Yet the writer of historical fiction needs to find the right tone. It needs to sound authentic, but it also needs to be modern enough to enable readers to understand the text. At best, the historical novelist is a translator between the past and the present, not just in subject matter, but also in language.

Let’s go back to the Brother Cadfael series. Cadfael, being a medieval monk, would have spoken in Middle English. That’s the language of Geoffrey Chaucer and the Canterbury Tales. How many people can read that in the original? Not too many. That’s why Ellis Peters created a character who is well-travelled. He’s been through a lot of hardship as a crusader. He would sound different from any typical speaker of Middle English anyway. That makes it easy to slip in the occasional modern phrase. On the whole, Cadfael speaks in modern English, yet in a formal register with an old-fashioned diction and syntax.

Here’s an example: In the book, The Leper of St. Giles, Cadfael talks about the crusades: ‘After the killing that was done in Jerusalem, of so many who held by the Prophet, I say they deserved better luck against us than they had.’

Cadfael’s complex syntax makes him sound Latinate, like any monk of the period should. So, the use of Latinate diction and syntax, and a few old-fashioned words, is enough to conjure up the illusion of medieval speech. He sounds authentic.

You can achieve this for your chosen era by reading extensively – not just fiction but also historical documents, newspapers, pamphlets, and magazines. Make sure you expose yourself to a wide variety of speech samples.

Pillar #7 – Universal Themes

Historical fiction addresses universal themes that resonate with readers across time. These themes may include love, identity, loss, suffering, power struggles, and social change.

In a sense, this is true for all great literature. Yet reading about these themes in historical fiction shows the readers how relevant they still are. Also, it’s often easier for readers to deal with difficult conflicts when they’re set in the past.

The Last Word

Historical fiction is a great genre. And it exists in so many subgenres! Blending historical fiction with romance, sci-fi, fantasy, or even time travel gives you more creative liberty.

For example, the Netflix series ‘Travelers’ sends agents to travel back in time, altering historical events to prevent the apocalypse. Each episode lets them end up in a different time period. The whole series shows what happens when authors apply the question ‘What if?’ to history. By the way, this genre is called ‘alternate history.’
Genevieve Cogman’s Invisible Library series blends fantasy elements with time-travel and alternate history with historical fiction. This might sound like a wild mix, but I would definitely recommend reading it!

Further Reading

By Susanne Bennett. Susanne is a German-American writer who is a journalist by trade and a writer by heart. After years of working at German public radio and an online news portal, she has decided to accept challenges by Deadlines for Writers. Currently she is writing her first novel with them. She is known for overweight purses and carrying a novel everywhere. Follow her on Facebook.

Elmore Leonard’s 11 Rules For Writing Fiction

October 11, 2025 by Richard Young

In this post, we’ve included author and screenwriter Elmore Leonard’s 11 rules for writing fiction.

Elmore Leonard was an American novelist, short story writer, and screenwriter. He was born 11 October 1925 and died 20 August 2013.

He started writing Westerns, but went on to specialise in crime fiction and thrillers, many of which were adapted for film.

His best-known works are Get Shorty, Out of Sight, Pronto: A Novel, 52 Pickup, The Complete Western Stories of Elmore Leonard, and Rum Punch, which was filmed as Jackie Brown. He was born 11 October 1925 and died 20 August 2013.

He was a recipient of the National Book Foundation’s Medal for Distinguished Contribution to American Letters, the Lifetime Achievement Award from PEN USA, and the 1992 Grand Master Award for Lifetime Achievement of the Mystery Writers of America.

He was well known for creating funny, detailed, well-paced stories featuring criminals. He was also known for writing incredibly realistic dialogue.

Elmore Leonard’s 11 Rules For Writing Fiction

Never open a book with weather. If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leap ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.
Avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s Sweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about. He says: ‘I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks.’
Never use a verb other than ‘said’ to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But ‘said’ is far less intrusive than ‘grumbled’, ‘gasped’, ‘cautioned’, ‘lied’. I once noticed Mary McCarthy ending a line of dialogue with ‘she asseverated’ and had to stop reading and go to the dictionary.
Never use an adverb to modify the verb ‘said’ … he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances ‘full of rape and adverbs’.
Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
Never use the words ‘suddenly’ or ‘all hell broke loose’. This rule doesn’t require an explanation. I have noticed that writers who use ‘suddenly’ tend to exercise less control in the application of exclamation points.
Use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavour of Wyoming voices in her book of short stories Close Range.
Avoid detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway’s Hills Like White Elephants, what do the ‘American and the girl with him’ look like? ‘She had taken off her hat and put it on the table.’ That’s the only reference to a physical description in the story.
Don’t go into great detail describing places and things, unless you’re Margaret Atwood and can paint scenes with language. You don’t want descriptions that bring the action, the flow of the story, to a standstill.
Try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them.
My most important rule is one that sums up the 10: If it sounds like writing, I rewrite it.

Source for rules

by Amanda Patterson

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About Isaac Asimov

6 Bits Of Writing Advice From Isaac Asimov

1. Learn The Rules

2. Writers Influence

3. Writing Is Solitary

4. Writing Is Prediction

5. Write To Be Clear

6. Type, Don’t Brood

The Last Word

10 Quotable Tips From Oscar Wilde On Writing

1. ‘I am so clever that sometimes I don’t understand a single word of what I am saying.’

2. ‘The good ended happily, and the bad unhappily. That is what fiction means.’

3. ‘An idea that is not dangerous is unworthy of being called an idea at all.’

4. ‘It is what you read when you don’t have to that determines what you will be when you can’t help it.’

5. ‘A man who does not think for himself does not think at all.’

6. ‘Books are never finished. They are merely abandoned.’

7. ‘There are no more than two rules for writing: having something to say, and saying it.’

9. ‘There is no such thing as a moral or an immoral book. Books are either well written or badly written.’

10. ‘If one cannot enjoy reading a book over and over again, there is no use in reading it at all.’

Bonus Tip: ‘Be yourself; everyone else is already taken.’

What Is Historical Fiction?

Some Great Examples Of Historical Fiction

The 7 Pillars of Historical Fiction

Pillar #1 – Choose An Era

Pillar #2 – Extensive Research

Pillar #3 – Historical Accuracy

Pillar #4 – Know Where To Take Creative Liberties

Pillar #5 – Strong Characters

Pillar #6 – Sound Authentic

Pillar #7 – Universal Themes

The Last Word

Elmore Leonard’s 11 Rules For Writing Fiction