Inside Conflagration!

cover of book Conflagration!

Mud is everywhere. It defines Montréal in April. The snow continues its laborious melt, the ice in the St. Lawrence jostles the shoreline, the clouds hover relentlessly close to earth, and everywhere there is heavy, wet, sticky muck. It adheres to the sides of shoes, the bottoms of coats, and the brims of hats whipped to the ground by winds, there one minute, gone the next.

I look down. My boots are caked in grime, a primordial ooze from the earth, from under the sea, from crevices unknown. I will spend much of this evening cleaning heels, toe caps, and outsoles only to have more mud adhere tomorrow. These caked brown scars are visible reminders that I am not at home. Not at home in this town. Here I have no roots, no history.

Home is Acadie, another world away in another part of New France. My home, admittedly, has mud, but it is the mud pigs roll in to cool their skin, the mud farmers use to build dykes, the mud kids make patties with under the spring sun. Montréal mud is a nuisance, a bother, a reminder of life’s inconveniences.

I am feeling sorry for myself. I am missing my family. It happens. I accept the ache, acknowledge its origins, and move forward, literally through more mud. I remind myself of Madeleine, my wife. She makes life in here bearable. She makes life breathable.

The afternoon sun hides behind clouds. But even in disguise, its demise for the day is evident. Soon it will be dark. I need to push onward, deliver these papers, and make my way home before nightfall. Before the mud becomes invisible, and treacherous. The ground is still hard and much of it frozen; mud will not break a fall, but it will cause one. I need to be careful. For Madeleine.

* * *

François de Béréy’s home is large by Montréal standards. Indeed, it is large by any standard. It rises three floors in the heart of the merchants’ quarter on rue Saint-Paul where it announces its presence to fur traders and aspiring businessmen without saying a word. It sits across from the Hôtel-Dieu de Montréal, the town’s convent and hospital. Three sisters in full habit are outside getting, I assume, a much-needed break from the rigors of tending to the ill and the injured. Immediately, I feel guilty for my selfishness, for a little mud. I nod at the three nuns acknowledging their presence and, I hope, their worth. The three women nod back.

I turn away and knock on the door in front of me. A young servant girl answers. She is about seventeen, dark brown hair pulled back in a bun, pleasantly overplump. She wears a white apron. Her head is bowed. “Philippe Archambeau pour Monsieur de Béréy, s’il vous plait.”

The young woman scurries off. She is back in a few seconds. She ushers me into the foyer. She does not look at me.

My business is over as quickly as it began. Documents delivered, and my day is done. The sun is struggling with the horizon, and losing. I would like to be home before it cedes the daily battle. I hurry down to the street. Two women are talking at the bottom of the steps, a servant and a Panis slave. They turn their backs to me and continue their conversation. As I walk past, I hear only one word: conflagration.

The Panis woman, likely, I thought, from a tribe south of Montréal, turns in my direction as I pass. It is a vacant look; I doubt she even sees me. But I see her. In two days, I will put a name to her face: Marie-Manon.

* * *

A heavenly aroma greets me as a walk through the front door. We live several streets away from the merchants’ quarter, on rue Saint-Antoine, closer to where I work as a court clerk. Madeleine knows somehow today was a long day and a hot beverage will be welcome. The tea, a Bohea blend infused with orange peel, is a special treat. It helps to warm my chilled bones and reassure my feet they will work tomorrow. Madeleine places my boots at the front door. I will tackle them later. Supper is hot and satisfying, smoked ham with potatoes, cabbage, and onion. More tea follows the meal. As does conversation. This is our time. Madeleine listens with her ears and her heart. This is my favorite time of day.

And I talk about mud. My wife knows I am not really talking about mud but about Montréal, this town that is my home and not my home. “There is mud in Acadie,” she says gently. She pats her stomach, almost absently, and reminds me that soon this town will also be the home of our first child.

“I’m sorry.” It’s the least I can say. What I can do is make our conversation what it should be and what it usually is: meaningful.

“I was in the lower town today.”

Madeleine smiles. “I bet it was muddy.”

“I saw a Panis slave. My guess, she is from the Fox Nation. Sold to someone here.”

“You see slaves every day. Yet you remember this one.”

“You are, as usual, right. I saw several slaves today on rue Saint-Paul alone. And a young servant girl. It all disconcerts me still.”

I am familiar with slaves. We have slaves in Acadie, but they work the farms, the field, the land as we all do. They seem part of the landscape. Perhaps they do not feel that way. I say this out loud to Madeleine. She does not dismiss the notion as odd as it may be in this town of 3,000 people that includes hundreds of slaves, maybe more.

“Do these slaves look differently to you? Do they act differently?”

They do not, and they do. “It is the vacant stares, the abbreviated eye contact. It does not sit well in my heart.”

“Another cup of tea will solve that.”

I will come to realize that what I see is the look of those imprisoned. It is the face of those who have no means of escape. Later I will associate it with the wall that surrounds Montréal.

I hate that wall. It closes me in. It is supposed to make me feel safe. It doesn’t.

* * *

Madeleine is sleeping. She sleeps a lot these days. I understand her body needs this even though she fights it. My mother also slept when she was with child, my brothers and sisters.

I take the last of the tea, reheated on the hearth. Madeleine would not approve. She would make a fresh pot, and we would talk. Tonight, she sleeps, and I look at the stars. They are the same stars I see in Acadie. And they are not.

From my front door, from most front doors, the wall is not visible. It is as if it does not exist. But we all know it surrounds us. Or almost surrounds us. For nearly twenty years, Gaspard-Joseph Chaussegros de Léry has planned, managed, and propelled the building of ramparts literally designed to protect Montréal from its enemies, primarily the British. New France’s chief engineer will see this wall finished, this town cocooned in stone.

The wall is flanked. Anyone who dares attack Montréal will know what faces them before they ever arrive at these ramparts. That is deliberate, and doable in large part because the town lies on moderately flat land. Curtain walls and strongholds and drawbridges and posterns span 3,500 metres. We are fortified in black limestone and grey crystalline.

The wall speaks to the power of France, and to the consideration of our King, Louis XV, and his famous great grandfather before him. It exudes authority.

It also promotes the trades. Montréal is flourishing inside these ramparts. The wall requires stone fitters and masons. Sawyers and blacksmiths and haulers are also needed. There is enterprise in the rise of these enclosures.

The wall speaks as well to those who seek to make money. It says, “You are safe here. Your business will thrive.”

With the wall comes commerce, particularly fur trading. Businesses spring up around this endeavour. Indeed, Montréal is a trading post. Where there is trade, there is community and the shops, markets, and supports needed to bolster and enshrine a town. In the time since the wooden palisade that once circled Montréal was replaced with this new wall, approximately 400 houses have been constructed. And the wall is not yet finished.

Of course, prosperity requires judicial overwatch. Our courthouse bustles with the legal business of business. It also punishes, as it must, those who dare to defy the King’s laws. I know this firsthand. I sit each day in that courthouse. I record the testimony of those who walk through its doors. Many faces are familiar. Many are unknown.

None will leave as great an impression as the twenty-five who will walk through its doors in the next twenty-two days.

Justice in New France, 1734


  1. Are lawyers a cornerstone of the justice system in New France?
    Witnesses are a cornerstone of the French judicial system. We do this without lawyers. We do not allow lawyers to practice in New France. We are not English.
  1. Are individuals presumed innocent until proven guilty?
    French law says all accused are presumed guilty. The accused must prove their innocence.
  2. What is the punishment for a capital crime like arson?
    The punishment: death, torture, or banishment. Or some combination of those. Being found guilty will mean an end to the life someone knows regardless of the punishment.
  3. What is the Code Noir?
    The Code Noir explicitly states how slaves are to be treated in New France. It discusses punishment and freedom of movement, or more accurately, lack of movement. The Code also requires that all slaves convert to Catholicism. It is an owner’s responsibility to ensure this happens. Sooner rather than later.
  4. Is there an appeal process?
    Mais oui! The appeal judgment would be rendered by the Conseil Supérieur in Québec. It is the foremost judicial body in New France. Their decision will be final.
  5. Does Montreal have its own prison? Is there a jailer?
    There is a prison, of course. It is attached to the courthouse – and it is where the jailer lives.

Up close and personal

Life is good. It is filled with family, friends, and furry critters. There is yoga four times a week; I wish it could be more. That is, I know, a wish I could fulfill.

There are wonderful times in the hot tub with the snow falling and bubble baths in the other times when the weather says it’s wisest to stay inside and soak.

Professionally, I’m transitioning from corporate writing and editing to doing more developmental, copy editing, and proofreading for writers. That is a joy.


That’s an interesting question. As a freelance journalist, I wrote on everything from intellectual property to the armoured truck industry to eel grass. Accuracy was paramount as was engagement. However, the most difficult piece I ever wrote was for “Lives Lived” in The Globe and Mail. It was a tribute to my mother following her death in 2020. It was so difficult to write because it was so personal. I had no perspective, and I feared I would not “get it right.” The only thing I know for sure: Mama, would have told me not to worry. And there would have been a hug.


I relish reading. I was a judge in the Crime Writers of Canada’s most recent Awards of Excellence, and I got to dive into more than 40 fabulous – and very diverse – books that kept me on my toes and my eyes glued to the page. When I was younger and I was discovering the wonder and wow of the mystery genre, I devoured authors like Tony Hillerman, Martha Grimes, and Ruth Rendell. More recently I have discovered writers like Richard Osman. And Delia Owens’s Where the Crawdads Sing was nothing short of joyous.


When I was about eight or nine, a next-door neighbor tossed me a Nancy Drew book. She thought I might like it. I sat on the curb between our two houses and read the entire book cover to cover. I loved the puzzle, figuring out who dunnit, and being propelled into a world outside my own.

That same year someone gifted me Charlotte’s Web, and my life was forever changed. Not only could words transport you to new worlds, they could become a part of your heart, change you in ways you could not have imagined. I wanted to do that.


My mother taught me to love language – and to respect it. She cared about words and getting the words right. She was my greatest influence.


Write. This sounds simple. Many days it isn’t. Some call this dedication, others devotion. I’m not sure it matters what it’s called as long as it happens. You will never be a better writer, you will never write another book if you don’t sit down in front of your computer screen and begin to put words in front of you.


Dreams do come true: I am officially a Lady of Mystery!

Can you tell us about your journey into writing and journalism, and what inspired you to pursue this career path?
The one constant in my life has been writing – poetry, short stories, essays, articles, books. As I was poised to begin a PhD in sociology, I decided to explore job options that would let me do more writing and less research. That led me into public relations and eventually to start my own company, Quantum Communications. In university I wrote regularly for the school paper. That led me to freelancing. I discovered you could be paid for writing – one of my personal top-five favorite discoveries – and I have freelanced ever since. My background in communications, journalism, editing, and related endeavors led to requests for me to teach. I accepted those requests and discovered that I thoroughly enjoyed engaging with people to explore ideas and theories while building skills. I did not enjoy grading.

Your portfolio includes a diverse range of publications, from The National Post to Chatelaine. How do you adapt your writing style to suit different audiences and platforms?
As a journalist (and a communications professional), you quickly learn that you are writing for the reader, and readers change from one type of publication to another. Adapting your style to meet their needs, and the requirements of the publication, is essential. That said, there are writing foundations that remain constant: conciseness, flow, readability.

“Hung Out To Die” introduces us to Riel Brava, a unique protagonist. What inspired the creation of this character, and what do you hope readers take away from the story?
A bath inspired this story. I’m a big believer in bubbles, candles, scrubs, essential oils, and music with birds chirping in the background. Friends call this bathroom time my shrine. One night immersed in a lavender cloud I realized it was time to begin writing my mystery. Get off the pot kind of thing. That led me to a litany of possible characters and crimes. Through the mist Riel emerged. Not fully formed but outlined enough that I wrote down my ideas before I even moisturized.

Like 4-12% of all CEOs, Riel is a psychopath. Not the Dexter-Hannibal Lecter-Norman Bates kind of psychopath. The kind who live and work among us, mostly unnoticed, often successful, always on full alert their differences will be uncovered. Riel is personable, even charming. He’s keen to understand how the human mind works, so he’ll blend in.

It is my hope that people will close the last page on Hung Out to Die with a smile, maybe a tear, and a little bit more acceptance of all those around us.

“Conflagration” delves into Canadian historical events, particularly focusing on the story of an enslaved Black woman. What drew you to this story, and what challenges did you face in bringing historical events to life in a fictional setting?
This book was a gift from my publisher, BWL Publishing, which has a series of historical mysteries set in each province and territory in Canada. My publisher unexpectedly lost her Quebec writer and asked if I could step in. I couldn’t wait.

Conflagration!, a historical mystery that follows the trial of an enslaved Black women accused of arson in Montreal in 1734, is founded in real-life events but wrapped in a mystery of my own making. The level of detail in court transcripts and the timelines set by the trial process meant I had a detailed blueprint for the book before I even began.

Your non-fiction book, “The Thong Principle: Saying What You Mean and Meaning What You Say,” explores effective communication. How do you apply the principles outlined in this book to your own writing process?
The Thong Principle is a way of communicating and a way of thinking. It’s about, as the subtitle indicates, a way to communicate that works on all levels. A way of communicating that works for the person sending the message and the person or people receiving the message. For writers and for readers.

As participants who’ve taken my courses know, I’ve been talking about the thong principle for decades. It’s a way to remember what matters most when we’re trying to convey a message or tell a story.  It’s a reminder that how we convey a message is as important as what we have to say.

I’ve taken that to heart.