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

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

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

Why Emotional Excess is Essential to Writing and Creativity – The Marginalian.

October 2, 2025 by Richard Young

The third volume of Anaïs Nin’s diaries has been on heavy rotation in recent weeks, yielding Nin’s thoughtful and timeless meditations on life, mass movements, Paris vs. New York, what makes a great city, and the joy of handicraft.

The subsequent installment, The Diary of Anais Nin, Vol. 4: 1944-1947 (public library) is an equally rich treasure trove of wisdom on everything from life to love to the art of writing. In fact, Nin’s gift shines most powerfully when she addresses all of these subjects and more in just a few ripe sentences.

Such is the case with the following exquisite letter of advice she sent to a seventeen-year-old aspiring author by the name of Leonard W., whom she had taken under her wing as creative mentor. Nin writes:

I like to live always at the beginnings of life, not at their end. We all lose some of our faith under the oppression of mad leaders, insane history, pathologic cruelties of daily life. I am by nature always beginning and believing and so I find your company more fruitful than that of, say, Edmund Wilson, who asserts his opinions, beliefs, and knowledge as the ultimate verity. Older people fall into rigid patterns. Curiosity, risk, exploration are forgotten by them. You have not yet discovered that you have a lot to give, and that the more you give the more riches you will find in yourself. It amazed me that you felt that each time you write a story you gave away one of your dreams and you felt the poorer for it. But then you have not thought that this dream is planted in others, others begin to live it too, it is shared, it is the beginning of friendship and love.

[…]

You must not fear, hold back, count or be a miser with your thoughts and feelings. It is also true that creation comes from an overflow, so you have to learn to intake, to imbibe, to nourish yourself and not be afraid of fullness. The fullness is like a tidal wave which then carries you, sweeps you into experience and into writing. Permit yourself to flow and overflow, allow for the rise in temperature, all the expansions and intensifications. Something is always born of excess: great art was born of great terrors, great loneliness, great inhibitions, instabilities, and it always balances them. If it seems to you that I move in a world of certitudes, you, par contre, must benefit from the great privilege of youth, which is that you move in a world of mysteries. But both must be ruled by faith.

The Diary of Anais Nin, Vol. 4 is brimming with such poetic yet practical sagacity on the creative life and is a beautiful addition to other famous advice on writing like Kurt Vonnegut’s 8 rules for a great story, David Ogilvy’s 10 no-nonsense tips, Henry Miller’s 11 commandments, Jack Kerouac’s 30 beliefs and techniques, John Steinbeck’s 6 pointers, and Susan Sontag’s synthesized learnings.

31 Writing Prompts for October

October 1, 2025 by Richard Young

31 Writing Prompts For October 2025

Writers Write shares writing prompts and writing resources. Use these writing prompts for October 2025 to get you writing.

Hello Writer

This month, we are talking about common mistakes and typos and other things that make you look like an amateur. In 2023, we focused on building habits, beating procrastination and improving discipline. In 2024, we worked on our novels and improved our craft. This year, we are taking a closer look at editing, specifically self-editing. It is an essential skill every writer needs to master, but man, being objective and cutting down your own work is hard.

Along with a short editing lesson, you will also receive your monthly prompts as usual. Editing is definitely second-draft stuff. Use the prompts to free write, THEN try to apply the editing suggestions. This is optional.

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If this is your first time using prompts, you can learn more about freewriting here.

Spelling And Other Mistakes

Spelling and silly mistakes

This is my most hypocritical post because I cannot spot typos for the life of me, but I have learned to pay attention to a few common culprits.

Words that sound the same:

The challenge is your spellchecker isn’t going to pick these up: they’re, their, and there or to, two, and too. Be sure to double-check.

Redundancies:

We don’t need these: a smile on her face (smiles are only ever on your face), shrugs his shoulders (we don’t shrug our knees).

Tenses:

Your spellchecker won’t pick these up either. Check carefully that you don’t switch tenses. I tend to switch when I write dialogue. I don’t know why, but I know to check it.

UK spelling vs US spelling:

Choose one set of spelling rules and stick to it. Both are accepted, but not in the same document.

Homework

Use the prompt to freewrite. Once you are done with the first draft, see if you can spot any of these mistakes in your work.

Next month, we’ll start looking at the tools we use to edit.

Download your prompts here: 31 Writing Prompts For October 2025

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Make the most of your writing prompts. Read How To Use Writing Prompts

Happiness

Mia

by Mia Botha

How To Write A Bestselling Book

September 25, 2025 by Richard Young

Have you ever wondered what it takes to write a bestselling book? And how do you write a bestselling book?

How To Write A Bestselling Book

What makes a book a best-seller?

The gold star of bestseller lists is The New York Times Best Seller list. But trying to get on the list is tricky. Firstly, there is no one defining list. The New York Times has sixteen different lists and the same 10 – 15 books can appear on all of them at the same time.

To even make the grade, you must have sold between 5 000 and 10 000 traditionally published books in one week – Sunday through Saturday – across America through multiple retailers, mostly bookshops.

Apart from the occasional romance book, self-published books don’t stand a chance.

Is it easier to sell non-fiction books? No. The market is far more competitive, and the minimum number of sales needs to be 7500.

Surely there must be more to it than that?

There is, but what that entails, as far as The New York Times is concerned, is a very closely guarded secret.

So what’s a writer to do?

It depends. Are you wanting to stay true to your own voice and write the books you want to read? Or do you want to chase the market?

If you want to chase the market and only write the types of books that are currently selling, it’s important to remember that you must research what books are selling now, write one, find a publisher and then sell your book. Just finding a publisher could take six-months to a year. Once you’ve signed on with a publisher it could take six months to a year before your book hits the bookshop shelves. By then, the Vampire Nuns genre that was selling off-the-chart numbers when you first researched ‘what books are selling now’, has given way to variations of Scotsmen In Mongolia.

I want to stay true to my own voice

Okay then.

In terms of the writing:

Read great books in your genre. Read a lot. Never stop reading.
Come up with as original a plot as you can.
Learn to write really well…
- Take great courses from reputable companies.
- Read great ‘how to write’ books.
- Join writing groups – not just to chill, but to write… a lot and get feedback as this will help improve your writing.
- Have book discussions with other authors and readers. This matters because it’s while debating the merits of Darcy of Pemberley vs Geralt of Rivia, that you discover what readers understand, prefer, and want, as well as when one type of hero is needed over another.
- Join writers’ groups preferably in your genre. These are great not just for the comradeship but can also help if a writers’ block falls out the ceiling and hits you on the head rendering you idealess.
- Join an author crit circle. One with strict ‘kindness’ rules.
- Go on writing retreats, alone or with other writers who actually want to write.
- Write as much as possible.
- Experiment with your writing. Don’t just stick to one genre as exploring other genres, voices, tenses, and word counts, will strengthen your writing muscles. You’re not required to publish these experiments; they are writing gym. Want to write great tension in romance? Practise writing horror stories with very short word counts.
Write a great book.

- One main plot.
- Don’t forget sub-plots.
- Create memorable and relatable characters/scenes/scenarios/locations/choices etc.
- Write with the audience in mind. If you’re writing romance, you must have an HEA (happy ever after) or a HFN (happy for now) ending, or it won’t qualify as a romance, and readers will be miffed. It’s hard to win back a miffed reader.
- Avoid cliches.
- Some advice blogs will tell you to edit for clarity not perfection. I’m not one of them. Edit first for clarity, and then for perfection. In this technologically driven day and age, there is no excuse for typos or incorrect grammar, unless the incorrect grammar is a plot device.

Get alpha reader feedback. Grow a thick skin and become humble and open to hearing criticism and learn what do with it.
Rewrite or edit some more.
Hire an editor for a manuscript appraisal.
Rewrite the book.
Edit until your fingers bleed.
Get beta reader feedback.
Edit some more.
Hire a proof-reader.
If you are self-publishing – Unless you are a trained graphic designer DO NOT design your own cover. Knowing how to use Canva does not make you a designer. The easiest way to tell if a book’s cover was created by a non-designer, is the typography. Hire a designer, preferably one with a portfolio that includes book covers in your genre.
(Optional) Find an excellent agent.
(Optional) Find a publisher.
(Optional) Sign a book contract.

The last three are optional as you may choose to go the self-publishing route.

In terms of ‘bestselling’:

Know that the average book sells no more than five hundred copies in the author’s lifetime.
Know that if you want your book to sell more than that you’re going to have to put in the work, and often potentially a lot of money, into making that happen.
Read as many books as possible on book marketing, Amazon marketing etc., that you can.
Learn about the several types of publishing available to indie-authors and how to avoid the charlatans.
Learn how to recognise and avoid the book launch scams.
Hire a great publicist – get recommendations from other highly successful authors. Look for a publicist that has experience in getting authors and or books known, discussed, and sold through a variety of media.
Launch the book more than once. One book launch does not a bestseller make. Research which kinds of launches are the most successful.
Do continual book promotion and marketing – but not to your friends and family. Not if you want to still be invited to pizza and Netflix evenings.
If you’re going to write a series, write the first three books and launch them all at once. This matters more than you realise.

Keep writing. Even if it’s just one short story a month.

The Last Word

If you’d like to write for children, young adults, or adults, why not sign up for one of the rich and in-depth courses that Writers Write offers to learn how to write the best book you possibly can.

by Elaine Dodge. Author of The Harcourts of Canada series and The Device Hunter, Elaine trained as a graphic designer, then worked in design, advertising, and broadcast television. She now creates content, mostly in written form, including ghost writing business books, for clients across the globe, but would much rather be drafting her books and short stories.

6 Ways To Experiment In Short Stories.

September 19, 2025September 19, 2025 by Richard Young

Do you want to try something different in your short story? In this post, we give you 6 ways to experiment in short stories.

One of the best things about a short story is that you have the opportunity to experiment. It gives you the chance to do something you have never done before.

Here is a list of suggestions if you want to try something different. You can use them for any story – not just short stories.

6 Ways To Experiment In Short Stories

Change viewpoint: If you have been writing in the same viewpoint, try a completely different one.
Dialogue only: Flex your dialogue muscles and see if you can tell a complete story with only dialogue.
Descriptions and telling: I am a huge fan of showing, but I need to practise telling too. Try rewriting your story with telling only.
Unreliable narrators and anti-heroes: Try writing a character who isn’t a perfect guy or a hero. If you always write about bad guys, try writing a story about a character with a very strong moral compass.
Different genre: Pick a genre you have never written in before.
Devices: Try adding a new element to your story. Thinks of speeches, emails, letters, diary entries, songs, and recipes.

These are only a few suggestions, and it will be tricky. You may not end up with your best story, but you will have learnt something new and done something different. This is about learning after all.

Happy writing!

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by Mia Botha

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