In 2019, at the When Words Collide writer’s conference in Alberta, I participated in a panel on eco-fiction. The panel, consisting of Alex Reissen, Marian Ruth Liddell, Claudiu Murgan, Nina Munteanu, and moderated by Canadian speculative author Candas Jane Dorsey, discussed what eco-fiction is, what it means to its writers and its readers and why it’s an important genre of literature. How, for instance can eco-fiction writers influence our audience to engage in helping the planet and humanity, in turn? How can we do it without turning to the polemic of non-fiction? We discussed the importance of “storytelling”, bringing in characters to care about, making the global experience (and issue) personal. Essentially dramatizing the premise.

Candas described fiction writers as “sneaky,” exploring the issue (and message) through context and setting with a focus on character journey. This includes use of sub-text and subtleties embodied by individuals. I mentioned treating the environment as a character—a character to care about.

We explored several areas in which writers could elucidate ways to engage readers for edification, connection and participation. We discussed optimism, new perspectives, and envisioning our future.

“Science doesn’t tell us what we should do,” Barbara Kingsolver wrote in Flight Behavior. “It only tells us what is.” Stories can never be a solution in themselves, but they have the capacity to inspire action.

“People need such stories, because however dark, a darkness with voices in it is better than a silent void.”

Margaret Atwood, Maddaddam