Frequently Asked Questions

Have a question you don't see answered here? Send us a message at [email protected].

    Who do I talk to about...

    13 Sep 2022

    Please email [email protected] for general enquiries and/or for:

    • Licensing, film, and other rights enquiries (or directly contact [email protected])

    • Speaking engagements including school visits, festivals, and workshops (or directly contact [email protected])

    • Interviews, blurbs, collaborations (or directly contact [email protected])

    Please also feel free to reference the media resource centre for self-serve promotional images and content if needed.

    School Visits, Public Speaking and Teaching

    12 Sep 2022

    I’m passionate about encouraging, inspiring, and equipping readers and writers of all ages and welcome the opportunity to join events including festivals, conferences, school visits, camps and workshops, and more, schedule permitting. (Contact: [email protected])


    I publish speculative fiction (fantasy, science fiction & horror) of all lengths (micro through novels/series!) for middle grade (=kids), young adult (=teens & up), and adult readers, and have experience in speaking to elementary, middle school/junior high, high school, and adult audiences.

    I’m a registered speaker with (and, as of 2021, president of) the Children’s Writers & Illustrators of British Columbia (CWILL BC) Society (CWILL BC speaker’s profile) and a member of The Writers Union of Canada (TWUC Speaker’s Profile)

    I’m also a creative writing coach with Creative Writing for Children Society, and have extensive experience creating curriculum and facilitating seasonal camps and term-length workshops on creativity, storytelling, publishing, and writing themes for ages eight and up.

    Previous, one-off, in person and remote festivals, sessions, workshops, panels, and masterclasses have included topics on writing and storytelling including craft and storytelling, short fiction and/or genre fiction, publishing skills, local-history-in-storytelling, eco-fiction and imagining the future, and motivation and resiliency.


    While I can do “author readings,” I prefer to work collaboratively with you to identify the best topics for your needs and audience and offer a presentation or workshop that directly engages attendees in a learning and/or creative experience. (Though I can certainly suggest topics that have worked well in the past, depending on age and subject.) Climate futurism, fighting the patriarchy, ghosts of the past, and horror-meets-humour are popular “broad-interest” topics for general (non-writing) groups, while creative writing or ELA bookings may focus more on paths to publishing, worldbuilding, descriptive writing, etc. Smaller (/younger?) groups may also benefit from integrated or extension activities such as crafts, multimodal learning, etc. (see examples in the gallery below!)

    As an aside, while I’ve written for nearly all ages at this point, I do not (yet) have publications out for every age/grade level that I provide workshops/presentations for, and I make a point of drawing on BC/Canadian kids’ books to fill that gap for younger audiences in particular. For example, I like to use the fantastically funny The Weird Sisters’ Detective Agency by Metro-Vancouver-based Mark David Smith and Kari Rust for a descriptive writing workshop for grade schoolers called “Monsters’ Feast” that builds sensory writing skills. Victoria-area author Leslie Gentile’s Shamus, the Urban Rez Dog PI is a great companion/reference book for slightly older readers to practice similar skills (smell, taste, touch).

    Likewise, when speaking to adults, I bring my experience working with over 150 (and growing) authors and illustrators publishing across a wide range of experiences from entrepreneurial indies to top-flight Big 5 (plus executive Arts Society boards and creative education experiences) to share tips, trends, and best practices, as well as my individual experience in writing, publishing, leadership and creative education to bear as appropriate.

    Please enquire regarding dates, fees, and any other pertinent logistics with as much notice as possible—my schedule does book up!

    Fees are generally in line with local standards, but may be subject to adjustment based on the specific event parameters. Nonprofits should enquire about discounts or alternate arrangements if budget is a barrier. Assistance with grant and funding applications may be available. As a member of The Writer’s Union of Canada, you can seek funding under their programs to work with me, including the Ontario Writers-In-The-Schools and the National Public Readings programs. BC-based schools can also seek funding through ArtStarts.

    Home base is (currently) Abbotsford, BC. The nearest airports are Abbotsford (YXX) or Vancouver (YVR). Bookings in Metro Vancouver and/or the Fraser Valley will not incur travel/transit surcharges (happy to drive for day-trips!) Zoom/remote presentations are available.

    (Contact now to discuss your event at: [email protected])


    “Kaie recently joined our Guild of Young Writers program for a virtual Speculative Fiction workshop that exceeded all of our expectations! Kaie provided such an insightful presentation, sharing her own writing process and tidbits about the business of writing itself before diving deep into the elements of speculative fiction.

    Her presentation was interactive and engaged the students with specific tips and examples from her own writing, along with suggestions to bring back to their own writing practice. She answered all of their questions with thoughtful and knowledgeable responses and provided the students with such inspiration to move forth with their own writing projects.”

    -Rebecca Ruiter, Coordinator & Facilitator, Story Studio Writing Society


    “K.A. Wiggins is an articulate and engaging professional who knows how to bring authors into dynamic conversations meant to inform, entertain and enlighten audiences of all levels. Her ability to seamlessly orchestrate events from beginning to end further demonstrates her passion and care for all that she does.”

    -Bonnie Nish, PhD, Executive Director, Word Vancouver and Department of Language and Literacy Education, Faculty of Education, University of British Columbia


    I rarely have footage available from events with young audiences (for privacy reasons, as well as technological constraints), but here’s a (growing!) collection of workshop-based creations, recordings, etc.:

    This might not look super impressive, but it’s enormously fun for everyone involved and also pretty impressive on the kids’ part (they’re only G3-5).

    We did the exercise together periodically over the first several weeks, with me sorting and running votes on the various wacky ideas they’d call out, then sketching the results along the chart and pointing out how it all fits into the key turning points and story arc, guiding what kind of ideas we’d need for the next stage of the story, etc.

    Then, about half-way through the term, they switched to working in (rotating) small groups, making their own.

    Important tip for educators trying this in the classroom: DO NOT shut down ideas hard, or they’ll dry up! Keep it fun and fast-paced. Loosen the reins on classroom rules a little.

    Some kids WILL try you, but they’re also often the ones who are normally disengaged, so you don’t want to miss the chance to reengage them. Consider channelling/deflecting ideas that truly violate acceptable school behaviour (“hmm, not sure that will work, how about . . . “) rather than a hard “no” and also consider accepting (/softening the edges of) some ideas that would normally not be acceptable.

    (Anecdotally, I see elementary educators shut down story ideas with violence or, uh, gross stuff, ALL THE TIME in the classroom, and nearly every boy’s attention switches right off when it happens (resulting in distracting behaviours soon after). I understand the need for trauma-informed teaching, but mostly letting them practice their storytelling skills by injecting potty humour or blowing up imaginary cities is *not cultivating homicidal sociopaths, it’s just . . . developing their creative muscles.)*

    This (IMHO) is one of the reasons it can be really helpful to bring in a creative to the classroom who can kind of bring that separate space for free and safe creativity with them. It can also be less confusing for you and the kids to navigate . . .

    The cheap/lazy/recycled/kid-safe (no glass to break!) variant! Threaded version with in-progress shots, close-ups & their writing assignments (crafts usually have a small writing component attached in our workshops):

    I’m a “lazy” crafter—no paint, minimal glue, found objects, loose odds-‘n-ends, thrift store assorted bundles, that sort of thing. On the plus side, it’s more eco-friendly & (maybe) more creatively challenging? YMMV tho~

    I think a “bookbinding” project might be possible with younger workshops if I pre-hole-punched the paper, but I have to confess I . . . have only been brave enough to try it with teens & up so far! (It’s NOT a short process!)

    (Character-development practice—how to design “distinctive”/memorable characters via a Kinder-egg fuelled monster mash-up!)

    When access to whiteboards is limited, “story mapping”/charting activities can also be done using sticky notes and poster paper or other blocks/frames (though these sponges were a bit of a fail, TBH!)

    Worksheets don’t look as exciting as crafts, but kids’ can and will get super creative with prompts (& it’s nice not to have to haul supplies!)

    I also have a couple mini writing tips posted on social: Spooky Middle Grade Openings and Speculative Worldbuilding Skills, and here’s a quick video created by the awesome team at ORCHIDS Childrens Literature Fest (Mumbai, India) with some classroom teaching footage:

    Please get in touch via [email protected] to discuss your event!

    Where can I get hard copies?

    21 Mar 2018

    I often get asked where readers can find my books IRL, so I keep a running list of bookstores with copies in stock here.

    Online shopping options are linked from each title on the Threads of Dreams and Standalones pages.

    (With apologies to those who struggle with reading off a screen, it’s usually not feasible to create print versions of the shorter fiction unless they sell as part of an anthology.)

    If you’re a library or bookseller interested in carrying one of my paperbacks or hardcovers, feel free to get in touch or reference the linked cut sheets for the relevant work:

    Blind the Eyes—Retail

    Blind the Eyes—Library

    Do you offer review copies?

    21 Mar 2018

    If you’re a book blogger, reviewer, or bookstagrammer, first of all, you rock & I wish I could take photos even half as well as you. :D

    Review Policy

    On Reviews

    I believe reviews are for readers, not authors!

    On a practical level, by the time reviews are being left, it’s really too late to make changes and the author has moved on—sometimes by a matter of months or years.

    On a creative level, one of the things new creators have to learn is that it’s very important not to let too many voices into your creative process and to understand the perspectives, qualifications, and purposes of those voices you do let in, which is why I work with experienced professionals and a few trusted first readers when it comes to shaping my stories.

    Besides, there is no one right way to tell a story or shape a book, and feedback only really gives insight into individual reviewers’ tastes. ;)

    What to Expect

    I generally make an effort to avoid reading reviews entirely (occasionally I stumble across them by accident or sift through looking for great blurb inspiration or ad-copy) because it’s very important to me that you feel comfortable leaving an honest, unbiased review.

    I never follow-up on store (or Goodreads) reviews in any way.

    Social (Instagram, mostly) and blog posts will probably get a like/repost/boost/comment if I’m tagged, but I will never follow up on a negative review in any way.

    (I mean, I hope you all love my stories, but even if that’s not the case, you never need to be scared of being honest!)

    How to Request an ARC

    The best time to request a review copy (/ARC) is up to two months before an upcoming new release, but I will consider all review copy requests and can add you to a list of interested reviewers at any time. A larger number of ebook review copies will be available compared to paperback, given cost, time, and technical constraints, but paperback ARCs are occasionally available.

    If you would like to review one of my books, please email [email protected] the details of your blog or other online presence and the book and format you are requesting.

    I use BookSprout and StoryOrigin to coordinate pre-release ARCs when a new book is coming out, and you can also just follow me on StoryOrigin or BookSprout to get an automatic notification whenever a new review edition is available.

    Unfortunately, I do have limits on my marketing budget and I also have to screen for book pirates, so not every applicant will be accepted, but do feel free to get in touch even if you’re a smaller/newbie/international reviewer—I want to support those starting out, too!

    I welcome bloggers and reviewers from all countries; however, the ability to read in written English is a necessary requirement. (Reviewers interested in my translated works should contact the publisher of that work directly to enquire about a review copy.)

    Who's your publisher?

    20 Mar 2018

    Snowmelt & Stumps is an independent single-author imprint with no formal business status. It’s used as a matter of convenience in lieu of author name if/when a publisher or imprint field is required.

    Blind the Eyes and all other in-progress and completed works on this site are copyrighted by K.A. Wiggins, unless otherwise marked.

    Italian language ebook rights to Letter From the End of the World have been licensed to Virgibooks, Inc. The translated edition is Lettera dalla fine del mondo.

    A number of titles (short fiction, mainly) has been licensed for publication in anthologies or magazines as noted on the Standalones or specific series page, and in the Bibliography on the About page..

    For all rights and licensing enquiries, please email [email protected].

    Blind the Eyes is a 100% indie title written and produced with independent or hybrid publishing in mind.

    Though I’ve sinced also worked with small presses, magazines, podcasts, etc. as a hybrid-published author, I’ve found independent publishing to be a great option. Going indie means operating your own micro-sized publishing company, and I’ve had the great fortune to work with awesome professionals on every stage of bringing Blind the Eyes and other titles to life. If you’re looking for support with your own ventures, I highly recommend every name on this list.

    Lisa Poisso

    Developmental Editing Round 1 on Blind the Eyes

    Developmental Editing Round 2 on Blind the Eyes

    Substantive/Line Edit on Blind the Eyes

    Plot Accelerator on Black the Tides

    Plot Accelerator on Burn the Skies

    Catherine Milos

    Proofread on Blind the Eyes

    Copy Edit with Developmental Notes on Black the Tides

    Copy Edit with Developmental Notes on Burn the Skies

    Regina Wamba

    First Edition Cover Design (“Tower” variant) of Blind the Eyes

    Christian Bentulan of Covers by Christian

    Digital and Print Cover Design on the Second Edition (2020 update/”Girl” variant) of Blind the Eyes

    Digital and Print Cover Design on the First Edition of Black the Tides

    Digital and Print Cover Design on the First Edition of Burn the Skies

    In-house modifications have since been made to all three designs (as per licensing agreement.) The third (current) edition of book 1/second editions of book 2 and remaining books in the extended series were also done in house (shoutout to Canva!)

    Morgan Wright

    Cover animations for Blind the Eyes (2nd Ed.), Black the Tides & Burn the Skies (1st Ed.)

    Statement on generative “AI”:

    As of 2024, no such thing as “artificial intelligence” yet exists. So-called “generative AI” are a scam run by tech “entrepreneurs” (grifters) on a customer base with little understanding of inputs or outputs involved. Simply (if reductively), they are advanced pattern-matching algorithms that draw on an inevitably stolen content base (artwork or literature, depending on format) to regurgitate a shiny but meaningless nightmare.

    And while I, too, am in the business of regurgitating nightmares onto the (digital) page, I like to think there is at least some meaning involved in the form. A smidge of intelligence, even. Also, no theft. And somewhat less environmental damage (the energy and water use required for gAI is horrendous).

    So. I have not and will not be (knowingly) using gAI in the production of my work (text or art). I encourage you to follow suit and boycott the grifters pushing that nonsenseware until they slink off and stop hastening the final stages of the climate apocalypse—it’s coming for us soon enough as it is.

    Let’s keep making (bespoke, human, at least mildly intelligent) weird stuff—and, if the mood strikes you, I’d appreciate it if you kept buying my weird stuff too!