We caught up with the brilliant and insightful Ge Tong a few weeks ago and have shared our conversation below.

Ge, appreciate you joining us today. Going back to the beginning – how did you come up with the idea in the first place?

My mother has been telling me our family story since I was a child. I grew up with those stories and knew from junior high that I wanted to be a writer. However, when it was time for university in China, my parents strongly opposed my studying Chinese literature or journalism, as writing and journalism were considered dangerous professions. I had to put my dream on hold and instead pursued a degree in finance and banking.

After earning my bachelor’s degree and working in China for three years, I came to Canada as an international student. Once again, for survival, I had to choose a practical path, studying Agricultural Economics—far removed from creative writing.

With my master’s degree in hand, I began working in Canada’s financial industry. Yet, the desire to write my family’s story never left me. Writing is not a hobby to me; it is a passion, a calling. But for the longest time, I had no idea where or how to begin.

Ge, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

In 2002, I developed repetitive strain injuries in both arms from extensive computer work, forcing me to take a disability leave. By 2004, my leave had ended, but I had not recovered—my injury was permanent. As a result, I lost my government job.

One day, while in the garden, inspiration struck me: a story unfolding as a series of letters from one sister to another. I began writing immediately, in Chinese. However, after about 17 letters, I had to stop. The pain in my hands made typing unbearable. I also realized that if I wrote the book in Chinese, I wouldn’t have access to essential resources like beta readers, critique groups, manuscript evaluators, or freelance editors. And how would I publish it in North America?

Still, I didn’t believe I could write the book in English. I even searched for a ghostwriter online, but when that didn’t work out, I knew I had to write it myself. In 2006, I began taking writing courses, restarted the story in English, and joined a critique group. I also hired freelance editors to help refine my writing, as crafting fiction in a second language was especially difficult.

Through my courses and the feedback I received, I realized that the letter format wasn’t the best structure for the story. I ultimately reshaped it into a more conventional novel, using a first-person point of view.

Can you share a story from your journey that illustrates your resilience?

In 2012, I completed an eight-chapter novella based on my own story and sent it out to publishers and literary agents. Eventually, I received a response from NeWest Press in Canada. The general manager told me that their reader group was divided—one side supported publication, while the other opposed it. In the end, those against it won the debate. Their main argument was that they sensed a larger story behind the novella, and he encouraged me to write that bigger story. Writing eight chapters had been difficult enough, but he was right—I had to tell the full story. Ten years later, I completed the trilogy. The House Filler is the first book in the series, and the eight chapters I wrote is now in the third book.

What do you think is the goal or mission that drives your creative journey?

The desire to turn my family stories into books was so strong that I wouldn’t be at peace if I didn’t do it. My ultimate goal is to publish these stories so more people can share them.

Contact Info:

• Website: https://tong-ge.com/
• Instagram: https://www.instagram.com/writertongge/
• Facebook: https://www.facebook.com/profile.php?id=61566480765166
• Twitter: https://x.com/Tong_Ge1

Image Credits

The credit for The House Filler book cover goes to Ronsdale Press.