Tong Ge Reflects on Heritage, History, and the Power of Storytelling in Her Acclaimed Debut The House Filler

PHOTO: Author Tong Ge, award-winning writer of The House Filler, blending memory, history, and imagination with poetic grace.

From China to Canada, A Literary Journey Rooted in Memory and Resilience

Tong Ge shares the inspiration behind The House Filler, explores cultural identity, discusses writing across languages, and offers heartfelt advice to aspiring authors crafting historical fiction with authenticity and purpose.

Tong Ge is a writer whose storytelling gracefully bridges cultures, languages, and generations. Born in China and now based in Canada, she brings a unique perspective to her work, drawing on a deep personal connection to history, family, and identity. Her debut novel, The House Filler, is a moving tribute to resilience and survival, inspired by her grandmother’s life and grounded in the turbulent landscape of 20th-century China. With numerous awards and accolades to her name, Tong Ge has established herself as a compelling voice in both English and Chinese literary circles.

In this engaging interview, Tong Ge discusses the creative process behind The House Filler, the freedoms and challenges of writing in a second language, and the responsibilities of telling stories that cross cultures and eras. She also offers thoughtful advice to aspiring writers and reflects on the enduring power of literature to inspire, challenge, and connect.

Tong Ge is a gifted writer whose lyrical prose, cultural insight, and emotional depth captivate readers across languages and literary traditions.

What inspired you to write The House Filler, and how did you develop its central themes?

My grandmother’s story inspired The House Filler, which explores a woman’s resilience against systemic oppression and personal adversity, with themes of love, sacrifice and survival across generations. Drawing from my grandmother’s experiences and my knowledge of Chinese history, this theme evolved naturally.

How has your personal experience of moving from China to Canada shaped your storytelling and perspectives as a writer?

Canada’s freedom has allowed me to write without fear or self-censorship, something I couldn’t do in China. Here, I also learned the craft of creative writing, as China only began offering formal creative writing programs in 2004. I’m grateful for Canada’s supportive writing environment, including critique groups, beta readers, freelance editors, and the invaluable library system. Over the years, I’ve borrowed countless books, which has helped me grow into an award-winning author and given me the confidence to continue creating meaningful work.

The House Filler spans multiple decades of Chinese history—what challenges did you face in ensuring historical accuracy while keeping the narrative engaging?

Historical accuracy is a challenge for all writers of historical fiction. For me, it’s less of a compromise, as I grew up in China, reading in Chinese and listening to family stories. These became the foundation for my book. In 2015, I visited my grandmother’s hometown and met relatives, which brought the setting to life. The internet made research easier, providing books, newspapers from the 1930s and 1940s, and historical photos that helped me accurately depict the settings. To keep the narrative engaging, I focused on plot, pacing, conflict, emotional depth, and vivid details, which aligned with historical truth. Though I’ve spent many years honing my craft, I continue to improve with each book.

Your novel has received multiple awards and nominations. What do you believe makes it resonate so strongly with readers?

The book’s originality, unique voice and distinctive setting, along with vivid depictions of culture, history and social environment, resonate with readers. Additionally, strong protagonists who face overwhelming odds, struggle, and find solace and hope inspire readers, reminding them of their own strength and resilience.

“Strong protagonists who face overwhelming odds inspire readers, reminding them of their own strength and resilience.” – Tong Ge

You have written and published in both English and Chinese. How does writing in different languages influence your creative process and storytelling approach?

Writing fiction in a second language is both a blessing and a curse. The blessing is using Chinese sayings and proverbs to add authenticity, but the differences between Chinese and English present challenges. For example, Chinese only has one tense (the present), lacks plurals, and doesn’t change verbs with the subject. Prepositions are also used differently. After over 30 years in Canada, I’ve become more familiar with English expressions, but I must be cautious about incorporating them into my novels set in China, as they don’t always fit the cultural context.

Can you share insights into your writing routine? Do you have any particular rituals or habits that help you stay focused?

Since 2005, my commission-based job has allowed flexible hours. For the first 15 years, I worked from 9 a.m. to 9 p.m., then dedicated two to four hours to writing, which I call my “happy hour.” I don’t have rituals and often lose track of time once I start. The key for me is quiet—peace and calm help me stay focused.

What key messages or emotions do you hope readers take away from The House Filler?

The struggles of early 20th-century China—wars, totalitarian regimes, poverty, class and gender inequality—remain relevant today. Freedom is fragile and can be lost in an instant if we’re not vigilant. I want readers to reflect on whether humans are inherently cruel, or if war turns us into beasts. I believe, without consequences, humans can commit atrocities. While some may feel sadness reading the book, I hope they are also inspired by the resilience of the human spirit and recognize that as long as we are alive, there is hope.

What advice would you give to aspiring authors, particularly those looking to write historical fiction or stories that bridge different cultures?

My advice is to stay true to your story and voice. Don’t follow trends—your subject will already make your work unique. Research is essential, especially if you’re unfamiliar with the period or language. However, research as you write and revise, rather than doing it all upfront. If possible, visit the settings of your novel.

When researching, read books from the period, especially fiction, for richer, more authentic details. Once your manuscript is done, have someone familiar with the culture and history review it, ideally someone who speaks the language. This could even be a friend, not necessarily a professional consultant. Many mistakes arise when second-generation immigrants unknowingly insert inaccuracies, and consulting a first-generation person could help avoid this.

Even a renowned writer like Pearl S. Buck made such mistakes in her book Imperial Woman, which contains historical inaccuracies about Empress Dowager Cixi. Her failure to consult Chinese experts led to errors, including a misrepresented book cover for the audiobook published in 2011. Today, sensitivity consultants are key for cultural authenticity, and publishers should consult them, especially for unfamiliar cultures.

Also, avoid projecting modern norms into historical fiction. For example, some recent novels inaccurately portray teenage rebellion, which wasn’t typical in past generations. Be mindful of historical context when portraying social dynamics. Finally, be open to feedback. If multiple people highlight the same issue, it’s time to reconsider it.