Since I've written quite a bit about how others have helped me--
often quite selflessly-- it's quite fitting to put some thought into
ways I can give back. People reached back over the wall to help pull me
over, so when I get the chance, I'm going to reach over and grab
someone.
There are three key things, for me, that that entails:
1. Working Writers' Workshops: I've been working the ArmadilloCon Writers' Workshop
for several years, and I'll be running it in 2015. When I was starting
out, attending this particular workshop was a critical step in getting
out of the "every word is gold" phase of writing and taking a hard look
at the work I needed to do. So providing that service to new writers is
important.
2. Being Responsive: No
one is pounding down my doors just yet, but when I do get people asking
me for insight or advice, I take it seriously. That includes at
conventions-- often after a panel I'll get a sense that someone in the
audience wants an extra word or a comment, and I make a point to be
approachable. I mean, to a large degree, that's literally why I'm
there: I learned stuff because people were there for me, I need to be
willing to do the same.
3. Remembering We've All Been There: Every
person working on being a professional writer is on a different place
on their journey, and I think it's crucial to maintain a certain degree
of humility about one's own path. I mean, I doubt anyone who read the
opening chapter to a now-trunked novel that I brought to my first
ArmadilloCon Workshop thought to themselves, "This is the guy who's
going to get a book deal in a few years." We are all works in progress,
and you never know where the next great one is going to come from.
Showing posts with label workshop. Show all posts
Showing posts with label workshop. Show all posts
Thursday, December 4, 2014
Monday, July 14, 2014
Edits and Research and Maps, Oh my!
This blog has, unfortunately for the moment, devolved a bit into "Stuff is happening and I'm busy!" Today is no exception to that. In part because I'm finalizing the edits for Murder of Mages so I can turn it in tomorrow.
On top of that, I've got a fair amount of pre-ArmadilloCon work on my plate. Part of that is the administrative side of the Writers' Workshop, part is the actual workshopping work for my group, and part is doing additional research and reading to prepare for some of the panels I'm on.
As part of that research, I've been revisiting Jared Diamond's Guns, Germs and Steel and Collapse, two books that have strongly shaped my ideas of worldbuilding. I've also been thinking about the Columbian Exchange, and how that could be applied to worldbuilding. I'll be posting more on that in the near future. And that ties into geography, first and foremost, shaping the worlds we build.
And with geography, there's maps. I've been re-working the maps to appear in Thorn of Dentonhill and Murder of Mages so they are of publishable quality. Which is an excellent way for me to be productive while the back of the brain churns on writing things.
So, back to work in the word mines.
On top of that, I've got a fair amount of pre-ArmadilloCon work on my plate. Part of that is the administrative side of the Writers' Workshop, part is the actual workshopping work for my group, and part is doing additional research and reading to prepare for some of the panels I'm on.
As part of that research, I've been revisiting Jared Diamond's Guns, Germs and Steel and Collapse, two books that have strongly shaped my ideas of worldbuilding. I've also been thinking about the Columbian Exchange, and how that could be applied to worldbuilding. I'll be posting more on that in the near future. And that ties into geography, first and foremost, shaping the worlds we build.
And with geography, there's maps. I've been re-working the maps to appear in Thorn of Dentonhill and Murder of Mages so they are of publishable quality. Which is an excellent way for me to be productive while the back of the brain churns on writing things.
So, back to work in the word mines.
Monday, June 9, 2014
Why You Should Go to ArmadilloCon Writers Workshop
All right, folks, this is the last time I'll talk about this (this year), but I think it's important:
If you're interested in writing sci-fi or fantasy, and you want to improve your craft, you should attend the ArmadilloCon Writers' Workshop. I could give you all sorts of reasons why, like our fantastic teachers: Mario Acevedo, Jayme Lynn Blaschke, Ted Chiang, Nicky Drayden, Mark Finn, Derek Johnson, Claude Lalumiere, Stina Leicht, Marshall Ryan Maresca, Ian McDonald, Joe McKinney, Alex C. Renwick, Kat Richardson, Dr. Anne-Marie Thomas, Martin Wagner, Jacob Weisman, Martha Wells and Skylar White.
I could tell you that the workshop is a steal at $70, and that includes access to the whole rest of the conference. Most conferences won't even let you in the door for $70, but here you get the conference and the workshop? A workshop where your work gets critiqued by writing professionals? How is that not a great deal?
I could tell you all sorts of things, but if you want to know why it's worth your while, here's the real reason, right here:
That's the book that I've got coming out next year. I took the first chapter of that to the workshop a few years ago, and due to the critique input I received, I was able to improve the chapter, improve the book and improve my craft as a writer. Did that pay off? Yeah, I think it did. Am I saying if you go you WILL sell your work? Of course not. But you'll get the tools you need to improve your chances.
And on top of that, I want to point out, I'm not shilling for this to line my pockets. I do this entirely as a volunteer, because I think it matters. The people who volunteered before me gave me the helping hand I needed, and I think the best thing I can do is reach out to the ones coming up behind.
If you're interested in writing sci-fi or fantasy, and you want to improve your craft, you should attend the ArmadilloCon Writers' Workshop. I could give you all sorts of reasons why, like our fantastic teachers: Mario Acevedo, Jayme Lynn Blaschke, Ted Chiang, Nicky Drayden, Mark Finn, Derek Johnson, Claude Lalumiere, Stina Leicht, Marshall Ryan Maresca, Ian McDonald, Joe McKinney, Alex C. Renwick, Kat Richardson, Dr. Anne-Marie Thomas, Martin Wagner, Jacob Weisman, Martha Wells and Skylar White.
I could tell you that the workshop is a steal at $70, and that includes access to the whole rest of the conference. Most conferences won't even let you in the door for $70, but here you get the conference and the workshop? A workshop where your work gets critiqued by writing professionals? How is that not a great deal?
I could tell you all sorts of things, but if you want to know why it's worth your while, here's the real reason, right here:
That's the book that I've got coming out next year. I took the first chapter of that to the workshop a few years ago, and due to the critique input I received, I was able to improve the chapter, improve the book and improve my craft as a writer. Did that pay off? Yeah, I think it did. Am I saying if you go you WILL sell your work? Of course not. But you'll get the tools you need to improve your chances.
And on top of that, I want to point out, I'm not shilling for this to line my pockets. I do this entirely as a volunteer, because I think it matters. The people who volunteered before me gave me the helping hand I needed, and I think the best thing I can do is reach out to the ones coming up behind.
Monday, April 14, 2014
ArmadilloCon Writers Workshop 2014
ArmadilloCon is now three months away, so I figured it was high time to turn up the signal on this year's workshop. If you are a genre writer looking to get to the next level in your writing, this is a wonderful workshop. Check it out.
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The $70 fee includes lunch on Friday, group sessions, and panels or presentations throughout the day about the craft and profession of writing as well as printing costs. You also recieve admission to all three days of the convention. You can purchase your entry to the workshop on the membership page.
Deadline for Manuscript Submissions will be June 15, 2014.
For further information, check out the webpage.
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Writers' Workshop
Sign up for the ArmadilloCon 34 Writers' Workshop and receive invaluable feedback on your unpublished Sci-fi, Fantasy or Horror story from two SF/F professionals (writers and/or editors), plus critiques from your fellow attendees.The $70 fee includes lunch on Friday, group sessions, and panels or presentations throughout the day about the craft and profession of writing as well as printing costs. You also recieve admission to all three days of the convention. You can purchase your entry to the workshop on the membership page.
Instructors
Ian McDonald, Ted Chiang, Nicky Drayden, Jacob Weisman, Mario Acevedo, Stina Leicht, Marshall Ryan Maresca and Skyler White. More to be added in the future.Deadline for Manuscript Submissions will be June 15, 2014.
About the Workshop
The ArmadilloCon Writers' Workshop has become a major event for aspiring SF/F writers. It meets before the convention on Friday morning at 9am and runs until about 4:30pm. Workshop curriculum is designed for beginning and intermediate students. Workshop participants are given the opportunity to have their work critiqued by major professional editors and/or writers. The workshop will cover craft, markets, the dos and don'ts of preparing your work for professional publication, and more. Discussions range from the basics of style to plot, theme, character, and setting. Within the breakout session, students receive an in-depth critique of their work from both instructors and peers. At the workshp, students receive a personal, in-depth critique of their work from instructors and peers, utilizing the Milford style. This roundtable style critique session is invaluable for learning what works, what doesn't, and how to edit your work.For further information, check out the webpage.
Thursday, February 20, 2014
Mark Your Calendars: ArmadilloCon Writers' Workshop
So, I haven't quite started bulking up my Con appearances yet-- I'll save that more for the back end of 2014, and expect to see me attending several in 2015, at least in Texas.
But I will definitely be attending ArmadilloCon (July 25th-27th) , in part because it's my local con, and in part because I'm running the Writers' Workshop with Stina Leicht.
I've spoken before of the workshop, and if you followed my Path To Publication posts, you saw that I attended several times before "graduating" to the other side of the table. So I say as a former student, this is a very valuable resource for an up-and-coming writer. Now, in being responsible for it, it is of great importance to me to maintain that level of quality.
Think about it: for $70, you A. get full attendance to ArmadilloCon plus B. get the workshop on Friday. A full day of panels and interactive critique of your work by writing professionals. For the aspiring professional writer, that is invaluable.
So: Friday, July 25th for the workshop. Deadline for submission is June 15th. If you can attend, I highly recommend it.
But I will definitely be attending ArmadilloCon (July 25th-27th) , in part because it's my local con, and in part because I'm running the Writers' Workshop with Stina Leicht.
I've spoken before of the workshop, and if you followed my Path To Publication posts, you saw that I attended several times before "graduating" to the other side of the table. So I say as a former student, this is a very valuable resource for an up-and-coming writer. Now, in being responsible for it, it is of great importance to me to maintain that level of quality.
Think about it: for $70, you A. get full attendance to ArmadilloCon plus B. get the workshop on Friday. A full day of panels and interactive critique of your work by writing professionals. For the aspiring professional writer, that is invaluable.
So: Friday, July 25th for the workshop. Deadline for submission is June 15th. If you can attend, I highly recommend it.
Monday, April 8, 2013
Perils of the Writer: Clarity and "Literary" Writing
There are, of course, several schools of thought on what makes "good" writing. And, frankly, half the time I'm at something of a loss. By which I mean, many times I will read something that's been identified as "great writing" and think it's a muddled mess. And many times I'll read things that are scathingly referred to as "puerile" or "simplistic" and think it's fun and entertaining.
When it comes to "great writing"-- in other words, writing that aspires to be literature-- some writers come away with an idea that they need to be obscure. That just coming out and saying what happened is too base or something. That to be great, you have to make your readers work for it.
I don't get that.
More to the point, this idea creates the impression among learning writers that they need to avoid clarity in favor of obfuscating the action. Especially on the academic level, this sort of idea is drilled into heads to the point where it's very hard to knock those bad habits out.
I read one sample chapter for workshopping in which the actual action in the chapter involved the main character visiting the grave of her friend. I had to re-read the chapter four times before I figured that out. Words like "grave" or "cemetery" or "headstone" did not appear. Why? I can only presume the author had gotten the idea that they needed to avoid direct telling of events in favor of sensory details.
This may not be a popular opinion among writers, but "sensory details" can be the death of clear writing.
Not that sensory details are bad, but many times it's done in a way to be obscure. Instead of telling the reader that the character sees an elephant, the writer tells us about the sight of large leathery ears, the earthy scent of dung, trumpeting calls and the ground shaking from a thunderous walk, and they hope that we put those pieces together and come up with "elephant". That type of thing can be fun, in a puzzle-box sort of way, but it isn't necessarily good writing.
Also, too often I see sensory details are thrown out the for the sake of putting sensory details. I remember one piece of writing advice that said something along the lines of, "If you go a page without each sense being represented, you're doing something wrong". This is terrible advice. A sensory detail should be used if it's relevant to the action.
Take smell, for example. Are you smelling something right now? Is the fact that you're smelling it strongly on your mind? To put that to writing, in the scene itself, is the fact that a smell is being noticed key to the scene? Or is it a detail you're adding because you feel you're supposed to add sensory details?
Of course, sometimes confusing the readers is the point. And that can be fun, but if you're going to do that, do it well. For every Dirk Gently's Holistic Detective Agency, there are dozens of books that are just unclear.
When it comes to "great writing"-- in other words, writing that aspires to be literature-- some writers come away with an idea that they need to be obscure. That just coming out and saying what happened is too base or something. That to be great, you have to make your readers work for it.
I don't get that.
More to the point, this idea creates the impression among learning writers that they need to avoid clarity in favor of obfuscating the action. Especially on the academic level, this sort of idea is drilled into heads to the point where it's very hard to knock those bad habits out.
I read one sample chapter for workshopping in which the actual action in the chapter involved the main character visiting the grave of her friend. I had to re-read the chapter four times before I figured that out. Words like "grave" or "cemetery" or "headstone" did not appear. Why? I can only presume the author had gotten the idea that they needed to avoid direct telling of events in favor of sensory details.
This may not be a popular opinion among writers, but "sensory details" can be the death of clear writing.
Not that sensory details are bad, but many times it's done in a way to be obscure. Instead of telling the reader that the character sees an elephant, the writer tells us about the sight of large leathery ears, the earthy scent of dung, trumpeting calls and the ground shaking from a thunderous walk, and they hope that we put those pieces together and come up with "elephant". That type of thing can be fun, in a puzzle-box sort of way, but it isn't necessarily good writing.
Also, too often I see sensory details are thrown out the for the sake of putting sensory details. I remember one piece of writing advice that said something along the lines of, "If you go a page without each sense being represented, you're doing something wrong". This is terrible advice. A sensory detail should be used if it's relevant to the action.
Take smell, for example. Are you smelling something right now? Is the fact that you're smelling it strongly on your mind? To put that to writing, in the scene itself, is the fact that a smell is being noticed key to the scene? Or is it a detail you're adding because you feel you're supposed to add sensory details?
Of course, sometimes confusing the readers is the point. And that can be fun, but if you're going to do that, do it well. For every Dirk Gently's Holistic Detective Agency, there are dozens of books that are just unclear.
Thursday, September 27, 2012
Reliability: The Writer's Most Crucial Trait
Back at the ArmadilloCon Writers' Workshop, one piece of advice I felt comfortable dispensing to the crowd of students was about any social media presence they might have. Namely, I said, "If you're going to have a blog, then have a blog." It's advice I live by: I've steadily posted here twice a week for a year and a half, and here I am with my 250th entry. But the reasoning behind my advice is this: if you're going to have a presence online as a writer (and you should, and you should be building it before you really "make a name" for yourself), then make sure your presence is one that shows you as a person who gets stuff done, regularly and systematically.
I know when I've had to research fledgling writers, there's nothing quite as disappointing as finding their blog with only a handful of haphazard entries, like thirteen scattered over the course of a year. Or with a flurry of daily entries for about three weeks, that then tapers off to an unpredictable drip. These things show me that a writer cannot follow through, or that they are incredibly unfocused. If I were a publisher or an agent, and I found that, I would be highly disinclined to sign with such a person, regardless of their talent.
For example, I read a fair amount of media tie-in books as my "popcorn" reading. There is one particularly prolific author in the media tie-in world whose style... I'm not a fan of. But he keeps getting work. Why? I suspect the "prolific" part plays into it. He takes the job and gets it done. You can't deny the appeal of that.
Because when it comes down to it, reliability trumps talent in the business side of things. Not that talent isn't crucial as well, but looking at the business side, which would you rather have: someone who might give you something amazing, but you're not sure when (or if) you'll actually get it, or someone who will make every deadline and deliver something that's acceptable? Not brilliant or earthshattering... but perfectly fine. You need something on the shelves in October, so you want the job done, period.
Of course, ideally, one tries to be brilliant and reliable. Still working on that one.
I know when I've had to research fledgling writers, there's nothing quite as disappointing as finding their blog with only a handful of haphazard entries, like thirteen scattered over the course of a year. Or with a flurry of daily entries for about three weeks, that then tapers off to an unpredictable drip. These things show me that a writer cannot follow through, or that they are incredibly unfocused. If I were a publisher or an agent, and I found that, I would be highly disinclined to sign with such a person, regardless of their talent.
For example, I read a fair amount of media tie-in books as my "popcorn" reading. There is one particularly prolific author in the media tie-in world whose style... I'm not a fan of. But he keeps getting work. Why? I suspect the "prolific" part plays into it. He takes the job and gets it done. You can't deny the appeal of that.
Because when it comes down to it, reliability trumps talent in the business side of things. Not that talent isn't crucial as well, but looking at the business side, which would you rather have: someone who might give you something amazing, but you're not sure when (or if) you'll actually get it, or someone who will make every deadline and deliver something that's acceptable? Not brilliant or earthshattering... but perfectly fine. You need something on the shelves in October, so you want the job done, period.
Of course, ideally, one tries to be brilliant and reliable. Still working on that one.
Monday, July 30, 2012
ArmadilloCon After Report
So now, it's all over. I'm still not recovered yet, so some of this may be incoherent.
There's no ArmadilloCon next year, as WorldCon 2013 is in San Antonio. Looking forward to that.
- Friday we first had the Writers' Workshop, which went very well. From the response I saw amongst the students, it was a good experience for them. My group of students, in fact, handled the critique session with a lot of grace and professionalism. I was teaching with Jeremy Lassen from Night Shade Books, who was a great teacher, and Robert Jackson Bennett, who impressed me a lot with his insight.
- Robert had some of the best comments in the large panel section of the workshop, where he compared writing (especially writing a novel) to building a house in the dark from the inside-out. And the purpose of good critique is to essentially have someone look at one you've done and say, "Hey, man, you put a toilet in the kitchen"-- because you didn't even realize that was a toilet. It's an odd metaphor, but I think it's apt.
- I have to say-- one thing I always said when I was in theatre-- half the secret to success is getting the right people, on stage and behind the scenes. So much of our success is because Stina Leicht did exactly that. She assembled a ridiculously good group of teachers, and brought in volunteers Beth Bugbee and Mandy Lancaster to keep everything running smoother than we could hope for.
- Katy Stauber organized our critique group, the Bat City Novelocracy, to have dinner at The County Line with Jeremy Lassen. Meat and beer and great conversation with new and old friends.
- Saturday I returned with my son in tow. I had two panels and a reading. The first panel was on SF/F Mysteries, which was a lot of fun and very insightful for me. Martha Wells, especially, always gives good panel-- I've thought so ever since I started going to ArmadilloCon- so it was a pleasure and honor to share the table with her for that one. Even if the moderator did bust on us for whispering about Babylon 5. Then I had "SF and Fantasy and Live Theatre". That was fun, because any panel with Mark Finn is going to be.
- I had my reading after Stina had hers (and her book in progress is going to be fabulous if the section she read from is any indication), which was a tough act to follow. I did my best, reading the opening of Maradaine Constabulary, and on the whole I was pleased with the results. The crowd reacted well, several people came up to me afterwards telling me they would buy it when it came out.
- Then the Bat City Novelocracy gathered in the bar for a late-night critique session of Abby's latest work-in-progress. That went well into the wee hours of Leigh and Vidya and I throwing brainstorming ideas at Abby before we all crashed.
- You know how I mentioned how I had my son in tow? Yeah. Let me tell you, he won ArmadilloCon. Hands down. He was astounding. He had his art portfolio, which everyone praised. John Picacio even took time out of his schedule to give him a fair amount of critique and advice. And he was going to up to everyone and chatting them up. He did fantastic. I was amazed and impressed.
- Sunday was a bit of a haze of weary. I had two more panels: Importance of Workshops and FutureSex. FutureSex was especially strange and odd, especially since Mark Finn was present for that one as well. I'm pretty sure we fell completely away from FutureSex in terms of SF/F literature, and went entirely into the actual future ramifications of robot/holodeck sex and the sexual political ramifications of aliens coming to Earth.
There's no ArmadilloCon next year, as WorldCon 2013 is in San Antonio. Looking forward to that.
Monday, July 23, 2012
Finalized ArmadilloCon Schedule
And now it's all official. And, as I expected, I have some more things on my plate then what I posted last week:
- Sa1400SB SF/F Mysteries
- Sat 2:00 PM-3:00 PM Sabine
- S. Cupp, M. Maresca, R. Rogers, P. Sarath*, M. Wells
- A discussion of good examples of this mixed subgenre and the special challenges of writing it.
- I asked to be on this one, since Maradaine Constabulary fits right into this. It is something I'm very interested. As is one of my Big Influence books, Caves of Steel. Should be fun.
- Sa2130SM Reading
- Sat 9:30 PM-10:00 PM San Marcos
- Marshall Ryan Maresca
- It's official! I'll be dusting off my actorly chops and reading from Maradaine Constabulary. You will want to come and hear. It'll be fun, and there will be a free pony given away.* Plus Campbell Nominee Stina Leicht is right before me, and you know you want to hear her. Because she's awesome. Right? Right.
- Now I just have to figure out what else I'll want to go to. What looks like fun to you all?
- ___
- *- The pony is a lie.
Thursday, July 19, 2012
Preliminary ArmadilloCon Schedule
I have my schedule, which is, of course, subject to change. As with any large, live event with a lot of moving parts, things are subject to change. A rule of thumb I live by is you're never 100% sure something is going to happen the way it's supposed to happen until it's actually happening.
So what do I have?
So what do I have?
- Sa1800T Science Fiction, Fantasy, and Live Theater:
- Sat 6:00 PM-7:00 PM Trinity
- M. Finn*, L. Gorinsky, T. Mallory, M. Maresca, J. Neulander,
- The history and challenges of live productions (theater and radio), for either SF or fantasy. Our panel discusses of radio productions and stage recreations, fan & semi-pro theater at conventions, SF&F movies that crossed to or from stage, and the special challenges of live theater for the genre.
- Right in my wheelhouse! Awesome. Plus Jason Neulander will be there. He's not typically at ArmadilloCon, since he's more a theatre guy-- just a good chunk of his theatre is SF/F. His company has gotten a good degree of notice for Intergalactic Nemesis-- which started as a radio play and has expanded into much more. There is even an Intergalactic Nemesis panel following this one. But this is the panel I'm looking forward to the most.
- Su1300SB Workshopping to Success
- Sun 1:00 PM-2:00 PM Sabine
- M. Dimond, K. Jewell, S. Leicht*, M. Maresca, N. Moore, J. Reisman
- What the ArmadilloCon / Clarion / Clarion West / Odyssey did for me (as a student or a teacher)
- So I'm on this one, clearly, to talk about the ArmadilloCon Writers' Workshop. Which is good, because I'm probably its biggest advocate.
- Su1400T Future Sex: The Shape of Things to Come
- Sun 2:00 PM-3:00 PM Trinity
- C. Brown, M. Maresca, R. Klaw, J. Nevins, P. Roberts*
- As humans reshape their society, their bodies, their culture, how will the most intimate of activities change?
- Ooh, Cybersex? Alien sex? Cyberaliensex? All right.
- I may have another one added, we'll see. Plus, I have requested a reading slot. Those aren't assigned yet, but if I have one, I will most likely be reading from Maradaine Constabulary. And that will be fun. I promise. You should come to that. Really. You.
Thursday, July 12, 2012
Sitting at the Grown-up Table
Two weeks from tomorrow ArmadilloCon kicks off*, starting with the Writers' Workshop. I'm really excited. This is my second year on the teachers' side of things for the Workshop, and even having done it before, I'm rather nervous about it.
When it comes down to it, part of that stems from Imposter Syndrome. My status as a "professional writer" sometimes feels Pinocchio-like: I have an agent, but I don't have books on shelves yet. So I don't get to be a "real boy". At least, not while sitting up there with these people.
However, I tell myself, "These feelings will go away once I have an actual book on shelves", I sometimes think that won't be true. After all, I told myself before, "These feelings will go away once I have an agent".
Part of it, I think is, I have a strange habit of still feeling like a kid sitting at the grown-up table, especially in situations like this. It doesn't make much sense, given that I'm nearly 40-- and hell, some of the people on that panel are younger than me-- but on some level I still have a self-image of the clueless 23-year-old. The one who drove to Austin with a car full of possessions and a complete lack of plan of what he was going to do with himself.**
Now, when it comes to being a Writing Professional, I know part of that feeling comes from getting serious about Writing relatively late in the game. I would say it wasn't until 2007. Before that, I was mostly just saying I intended to Be A Writer, and despite some playwriting success, it was far more talking about What I Would Write rather than actual writing. So here I am-- almost 40, and not quite there yet.
But I am at the Grown-Up Table, so that's something.
---
*- This is what I'm going to be talking about for a the next few weeks. So just be prepared.
**- Given that, I think I did all right.
When it comes down to it, part of that stems from Imposter Syndrome. My status as a "professional writer" sometimes feels Pinocchio-like: I have an agent, but I don't have books on shelves yet. So I don't get to be a "real boy". At least, not while sitting up there with these people.
However, I tell myself, "These feelings will go away once I have an actual book on shelves", I sometimes think that won't be true. After all, I told myself before, "These feelings will go away once I have an agent".
Part of it, I think is, I have a strange habit of still feeling like a kid sitting at the grown-up table, especially in situations like this. It doesn't make much sense, given that I'm nearly 40-- and hell, some of the people on that panel are younger than me-- but on some level I still have a self-image of the clueless 23-year-old. The one who drove to Austin with a car full of possessions and a complete lack of plan of what he was going to do with himself.**
Now, when it comes to being a Writing Professional, I know part of that feeling comes from getting serious about Writing relatively late in the game. I would say it wasn't until 2007. Before that, I was mostly just saying I intended to Be A Writer, and despite some playwriting success, it was far more talking about What I Would Write rather than actual writing. So here I am-- almost 40, and not quite there yet.
But I am at the Grown-Up Table, so that's something.
---
*- This is what I'm going to be talking about for a the next few weeks. So just be prepared.
**- Given that, I think I did all right.
Thursday, June 14, 2012
Excerpts and Workshops
It's been a busy week on this end, so this post will mostly be links.
First, I've updated the Works page on my homepage. I updated the samples of Thorn of Dentonhill, Holver Alley Crew and Maradaine Constabulary, as well as adding an in-draft sample of Way of the Shield. The Bat City Novelcrats will be tearing up Shield in the near future, so if you want an early stab on that, feel free to check it out and tell me how many mistakes I made.
After all, I can always use more critiquing. And so could you! The deadline for the ArmadilloCon Writers' Workshop is fast approaching. (How's that for subtlety?)
Seriously, the deadline is on Monday. You may look at it and say, "Hmm, that's $75. That's a lot." But you get membership to ArmadilloCon with it, and THAT is worth $40. Plus you get lunch. That's, like, another $10. So, if you think about it, it only costs $25. You get hands-on critiquing and interaction with TONS of writing and publishing pros for $25. You can't beat that value. Again, here's the line-up of teachers:
Elizabeth Bear, Julie Kenner, Scott Lynch, Robert Bennett, Liz Gorinsky, Mark Finn, Martin Thomas Wagner, Martha Wells, Matthew Bey, Nicole Duson, Scott Johnson, Jessica Reisman, Cat Rambo, Joe McKinney, Marshall Ryan Maresca, Anne Bishop, Stina Leicht, Jeremy Lassen, and Amanda Downum.
See? Awesome. Well, awesome and that Maresca guy. But he probably won't make it lame.
First, I've updated the Works page on my homepage. I updated the samples of Thorn of Dentonhill, Holver Alley Crew and Maradaine Constabulary, as well as adding an in-draft sample of Way of the Shield. The Bat City Novelcrats will be tearing up Shield in the near future, so if you want an early stab on that, feel free to check it out and tell me how many mistakes I made.
After all, I can always use more critiquing. And so could you! The deadline for the ArmadilloCon Writers' Workshop is fast approaching. (How's that for subtlety?)
Seriously, the deadline is on Monday. You may look at it and say, "Hmm, that's $75. That's a lot." But you get membership to ArmadilloCon with it, and THAT is worth $40. Plus you get lunch. That's, like, another $10. So, if you think about it, it only costs $25. You get hands-on critiquing and interaction with TONS of writing and publishing pros for $25. You can't beat that value. Again, here's the line-up of teachers:
Elizabeth Bear, Julie Kenner, Scott Lynch, Robert Bennett, Liz Gorinsky, Mark Finn, Martin Thomas Wagner, Martha Wells, Matthew Bey, Nicole Duson, Scott Johnson, Jessica Reisman, Cat Rambo, Joe McKinney, Marshall Ryan Maresca, Anne Bishop, Stina Leicht, Jeremy Lassen, and Amanda Downum.
See? Awesome. Well, awesome and that Maresca guy. But he probably won't make it lame.
Monday, June 4, 2012
Adding just a hint of mustard
Seven years ago, when I first participated in the ArmadilloCon Writers' Workshop (two more weeks until the sign-up deadline!), I brought the first chapter of an early draft of the now-trunked Crown of Druthal. I've mentioned before that I went in cocky and got properly shredded.
But one bit of shredding stuck with me, even as I thought it was odd and out of place.
In said first chapter, my main character (Augustine) meets some friends in a restaurant for a bit of character- and world-building scenes before he gets grabbed by the King's Marshals and dragged into the plot. It's not a terrible bit, but my writing was all over the place-- bad POV and tense use. Seriously, embarrassing. And it got shredded.
But one bit of shredding really stayed with me, partly because I thought it was so odd. At the restaurant, Augustine's food comes-- roasted chicken, cheese, bread, and mustard. He particularly relishes the mustard.
And one of the critique partners of that sessions mentioned, "And you go on and on about the mustard."
I should mention that the mustard? Is one sentence. And not some overlong, rambling around sentence of craziness.
So, of course, I thought, "This guy is crazy. I shouldn't listen to him."
Later I considered it more. And it became clear to me that the problem wasn't the mustard in and of itself. The problem was all sorts of little details that were just condiment, not meat. World-building and atmosphere, but no real content. The mustard was just the breaking point for this guy. It seemed to him to be me going on and on, and in a way I had been.
In short, I had become a rambling storyteller than makes you want to scream, "Get to the point already!"
So this is the point: mustard has to be applied judiciously. Just enough to give a kick. But not so much as to overpower the real meat of what you're eating.
Time to go spread a little on.
But one bit of shredding stuck with me, even as I thought it was odd and out of place.
In said first chapter, my main character (Augustine) meets some friends in a restaurant for a bit of character- and world-building scenes before he gets grabbed by the King's Marshals and dragged into the plot. It's not a terrible bit, but my writing was all over the place-- bad POV and tense use. Seriously, embarrassing. And it got shredded.
But one bit of shredding really stayed with me, partly because I thought it was so odd. At the restaurant, Augustine's food comes-- roasted chicken, cheese, bread, and mustard. He particularly relishes the mustard.
And one of the critique partners of that sessions mentioned, "And you go on and on about the mustard."
I should mention that the mustard? Is one sentence. And not some overlong, rambling around sentence of craziness.
So, of course, I thought, "This guy is crazy. I shouldn't listen to him."
Later I considered it more. And it became clear to me that the problem wasn't the mustard in and of itself. The problem was all sorts of little details that were just condiment, not meat. World-building and atmosphere, but no real content. The mustard was just the breaking point for this guy. It seemed to him to be me going on and on, and in a way I had been.
In short, I had become a rambling storyteller than makes you want to scream, "Get to the point already!"
So this is the point: mustard has to be applied judiciously. Just enough to give a kick. But not so much as to overpower the real meat of what you're eating.
Time to go spread a little on.
Thursday, May 17, 2012
Another Plug of ArmadilloCon Writers' Workshop
The deadline for submissions for the ArmadilloCon Writers' Workshop is a month away. High time to plug it again.
--
The ArmadilloCon Writers' Workshop has become a major event for aspiring SF/F writers. It meets on Friday morning before the convention and runs for seven hours when the convention starts. Workshop curriculum is designed for beginning and intermediate students. Workshop participants are given the opportunity to have their work critiqued by major pro editors and/or writers. The workshop will cover craft, markets, the dos and don'ts of preparing your work for professional publication, and more. Discussions range from the basics of grammar and style to plot, theme, character, and setting. Within the breakout session, students receive an in-depth critique of their work from both instructors and peers. This roundtable style critique session is invaluable for learning what works, what doesn't, and how to edit your work.
This years instructors:
Elizabeth Bear, Julie Kenner, Scott Lynch, Robert Bennett, Liz Gorinsky, Mark Finn, Martin Thomas Wagner, Martha Wells, Matthew Bey, Nicole Duson, Scott Johnson, Jessica Reisman, Cat Rambo, Joe McKinney, Marshall Ryan Maresca*, Anne Bishop, Stina Leicht, Jeremy Lassen, and Amanda Downum.
Check the website for specifics on registering.
I'm really looking forward to this year's workshop and con. If you are a writer looking towards publication-- especially in the Central Texas area-- I cannot stress enough its value. It's really an amazing experience, and compared to most other workshop/conference opportunities, it is a downright bargain.
___
*- Yeah, we totally could play the "One of these things is not like the others" game with this group, hmm?
--
The ArmadilloCon Writers' Workshop has become a major event for aspiring SF/F writers. It meets on Friday morning before the convention and runs for seven hours when the convention starts. Workshop curriculum is designed for beginning and intermediate students. Workshop participants are given the opportunity to have their work critiqued by major pro editors and/or writers. The workshop will cover craft, markets, the dos and don'ts of preparing your work for professional publication, and more. Discussions range from the basics of grammar and style to plot, theme, character, and setting. Within the breakout session, students receive an in-depth critique of their work from both instructors and peers. This roundtable style critique session is invaluable for learning what works, what doesn't, and how to edit your work.
This years instructors:
Elizabeth Bear, Julie Kenner, Scott Lynch, Robert Bennett, Liz Gorinsky, Mark Finn, Martin Thomas Wagner, Martha Wells, Matthew Bey, Nicole Duson, Scott Johnson, Jessica Reisman, Cat Rambo, Joe McKinney, Marshall Ryan Maresca*, Anne Bishop, Stina Leicht, Jeremy Lassen, and Amanda Downum.
Check the website for specifics on registering.
I'm really looking forward to this year's workshop and con. If you are a writer looking towards publication-- especially in the Central Texas area-- I cannot stress enough its value. It's really an amazing experience, and compared to most other workshop/conference opportunities, it is a downright bargain.
___
*- Yeah, we totally could play the "One of these things is not like the others" game with this group, hmm?
Thursday, February 16, 2012
First Plug at ArmadilloCon Writers Workshop 2012
It's time to start thinking about ArmadilloCon 34, especially since this year it will be at the end of July instead of the end of August. You don't want to be sitting around mid-July and think, "Oh, yeah, I should plan to go to that" and then realize it's next weekend. That would be bad.
And, of course, I'm plugging the Writers' Workshop. It's not hard to see why, especially since this year I have full-fledged "Workshop Coordinator" status. No "Assistant" on my title this time around! (Note: I don't think my actual duties will change in the slightest. But who doesn't love a title bump?)
So what's it all about, if you don't know already? Check out this post by the fantastic Stina Leicht*, the head coordinator of the workshop.
And then go sign up.
___
*- Really, fantastic. Of Blood and Honey was one of the best books I read last year, and with her upcoming And Blues Skies from Pain, she's got some serious Campbell Award buzz. Which I fully endorse.
And, of course, I'm plugging the Writers' Workshop. It's not hard to see why, especially since this year I have full-fledged "Workshop Coordinator" status. No "Assistant" on my title this time around! (Note: I don't think my actual duties will change in the slightest. But who doesn't love a title bump?)
So what's it all about, if you don't know already? Check out this post by the fantastic Stina Leicht*, the head coordinator of the workshop.
And then go sign up.
___
*- Really, fantastic. Of Blood and Honey was one of the best books I read last year, and with her upcoming And Blues Skies from Pain, she's got some serious Campbell Award buzz. Which I fully endorse.
Thursday, June 30, 2011
Busy Week, Quick Post
Two points:
1. You still have about 36 hours to sign up for the ArmadilloCon Writers' Workshop:
2. I'm still open for Book Trailer reviews. Send me yours, or send me ones you find interesting. I'd especially love to see some that people consider to be winners.
1. You still have about 36 hours to sign up for the ArmadilloCon Writers' Workshop:
Check it out here.Writers' Workshop
Are you an unpublished, beginning to intermediate level writer?
Put your unpublished, original work of SF/F/Horror fiction in front of pros! Sign up for the ArmadilloCon 33 Writers' Workshop and receive invaluable feedback from two SF/F professionals (writers and editors), plus critiques from fellow attendees.
The $75 fee includes group sessions and panels or presentations throughout the day about the craft and profession of writing, plus lunch on Friday. You also get admission to all three days of the convention.
Instructors
Lou Anders; Paolo Bacigalupi; Matthew Bey; Jayme Lynn Blaschke; Rosemary Clement-Moore; Amanda Downum; Mark Finn; Scott Johnson; Julie Kenner; Stina Leicht; Scott Lynch; Marshall Ryan Maresca; J.M. McDermott; Jaime Lee Moyer; Marshall Payne; Patrice Sarath; Katy Stauber; Lee Thomas; Thomas M. (Martin) Wagner.
About the Workshop
The ArmadilloCon Writers' Workshop has become a major event for aspiring SF/F writers. On the Friday of the convention, you will have the opportunity to have your work critiqued by major pro editors and writers. Breakout sessions will cover craft, markets, the dos and don’ts of preparing your work for professional publication, and more. Discussions range from the basics of grammar and style to plot, theme, character, and setting.
You will get an in-depth critique of your work from the teachers in your group as well as from your peers. This roundtable style critique session is invaluable for learning what works, what doesn’t, and how to edit your work.
2. I'm still open for Book Trailer reviews. Send me yours, or send me ones you find interesting. I'd especially love to see some that people consider to be winners.
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