Showing posts with label short stories. Show all posts
Showing posts with label short stories. Show all posts

Monday, April 23, 2018

A Trove of Fabulous Short Stories over at Curious Fictions!






If you’re looking for short stories to read, be sure to check out Curious Fictions. This little known gem is a platform for short story reprints. The site will ask you for credit card information up front, but all the content is completely free, though tipping is encouraged. You can also subscribe to your favorite authors.


It is a great option for short story writers who too often see their previously published stories vanish into a kind of oblivion a few months after being published. I have uploaded a few stories there and like having a no fuss place to give these stories a second chance to be seen.
 

Most recently, you can find my story, Short Straw, on the site. It previously appeared in the Lost Worlds anthology by Flame Tree Press (print only). The link for Short Straw in the sidebar will now direct to Curious Fictions. 
 

While I hope you'll enjoy the stories I’ve posted there, I know you won't be disappointed with the site: it is stuffed with amazing stories, easy to navigate, and easy to read on a variety of screens.
 

Here’s a little teaser for Short Straw:
 

“Don’t tell the trees your name,” the wild grasses whispered as they batted their bearded heads against the linen skirt wrapped around Nina’s thin hips. Her great grandparents, the first colonists, had brought rice and wheat, barley and rye, and crossed their seeds with the new-world plants. But the grains they produced were inedible. Still, they abandoned grasses persisted, and the wild meadow won a few more inches of ground every year.
 

She looked up, past the settlement to where the tallest branches of the forest canopy snared the sinking sun. “I have to go,” she said.
 

“If you must go, take us with you,” they whispered.
 

Nina closed her hands capturing two fistfuls of seed heads, pulled them off their stems, and shoved them into her skirt pockets. "There. Happy?"
 

“No.”




Wednesday, August 17, 2016

Hey Toto, we're in Kansas! Readings and Panels at WorldCon!



It's been a crazy, busy summer with lots of travel and time with family. I've managed to do some writing. I thought I'd take a quick break from the novel by writing a short story, but the story grew (as my stories seem to do nowadays) into a novella. I'll finish revising it and return to the novel just as soon as I get back from WorldCon!


I have an early flight tomorrow, which is a good thing as I have a busy day coming up.

I'll be reading at 1:30 in room 2202
I can't wait to share a story or two live and in person.

From 5:00 - 6:00 I'll be moderating "Knock on Wood: From Squirrel Girl to Lumberjanes" (room 2207) with fellow panelists Jason Stanford, Catherine Lundoff, Adam Rakunas, and Tom Galloway.
"What the junk?! In the last couple of years we've seen the growth of comics that might superficially appear to be aimed at a YA audience, however these titles are hitting the mainstream with a vengeance. Marvel are leading the pack with Squirrel Girl, Ms Marvel and Captain Marvel, but there's also a vast amount of Indie work coming through such as Lumberjanes, Space Dumplins, Khaos Komix and Footloose. Our panel discuss why these titles are so popular, and what they have to offer both new and established audiences." 
From 6:00 - 7:00 you can find me participating in "Cleaning Up Your Prose" (room 3501B) with C.C. Finlay(!), Randy Henderson, Rob Chilson, moderated by Alan Smale.
My love of revision is no secret. I'm looking forward to a lively discussion about how writers go about improving their work once the first draft is finished!

Then on Saturday from 4:00 - 5:00 back in room 2202, I'm thrilled to participate in Flash Fiction Online's group reading. This one is going to be tons of fun. Hosted by Anna Yeatts and Chris Phillips, come by to hear stories from Sunil Patel, Kelly Sandoval, Laura Pearlman, Beth Cato, and yours truly!

You can check out my schedule and more here. Hope to see you there!

Friday, October 2, 2015

Read My Post-Scarcity Day-After-Thanksgiving Tale at Devilfish Review


The idea for Black Friday came to me while contemplating the ruination of one of my favorite holidays. Thanksgiving is like the easy-going uncle of holidays, it shows up a couple months into the school year grind for a long weekend of cooking and eating while near continuous football games play in the background. Not that it can't be tricky, centered as it is around sitting down with relations with whom you may or may not see eye to eye. If sharing an annual meal includes an argument or even a family dust up, well, that too is an American tradition. Think about how many times a family gathered around the Thanksgiving table has been featured on the stage, in movies and TV dramas? Annual ordeal, priceless family bonding, or both--Thanksgiving is a touchstone of American culture. 

And I don't even like turkey! Our family tradition, in fact, is to create our own quirky meal (alternatives have included quail, octopus, and lobster). Of course we prepare so much food that we can eat of the leftovers for the rest of the long, lazy weekend. We also make a point of not shopping at all for the entire weekend. All that mindless consumerism, the crowds chasing after phyrric savings--it's bad for the digestion.

While the Black Friday tradition is fading, it's only because stores are starting to open on Thanksgiving day. Sad. 

So, that's how this story got its start. Although I'm not exactly sure how the tooth fairy got involved.


I'm delighted that this story found a home in Devilfish Review among so many other great stories and poems!


Saturday, May 2, 2015

The ArmadilloCon Writers’ Workshop is just around the corner!


I have participated in the wonderful ArmadilloCon Writers’ Workshop for several years, last year I volunteered, and this year I’ll be sitting on the other side of the table as a pro! I’m so excited to be giving back to the Workshop, as it has been a staple of my progress as a writer.

ArmadilloCon has always been a writers’ convention, and through the years both the con and the workshop have hosted a variety of excellent writers. I’ve personally benefited from the advice and wisdom of writers such as, Paolo Bacigalupi, Lou Anders, Cat Rambo, Ian McDonald, and StinaLeicht. This year’s workshop pros will include Ken Liu and James Morrow, and Marshall Ryan Maresca.

But, the Workshop isn’t just about the big names. The pros contributing their time to the workshop represent today’s diversity in writing and publishing. These are men and women writing across a variety of styles, formats and genres. There are writers who are traditionally published, and writers who successfully self-publish, and everything in between.

The all-day workshop costs $79.50, which includes lunch and a full (3-day) Con membership.  The ratio of pros to workshop attendees is excellent (usually two pros per three to five attendees), so it’s a true small-group workshop experience.

The workshop isn’t only about collecting critiques on your brilliant work of genius. It’s participatory. Once you sign up and turn in your piece you will be placed in a group of fellow workshop attendees and receive your group-mates brilliant works of genius to read and critique.

If you are new to workshopping, learning to assess someone else’s work is an excellent way to develop your own writing. I’ve learned at least as much from putting together a coherent, constructive critique of someone else’s work as getting feedback on my own . Putting together your thoughts about your workshop mates stories can also take the edge off waiting to hear how your own piece went over. In the end you’ll go home with written and verbal critiques by the other writers in your group along with critiques by at least two of the attending workshop pros.

I enjoy group critiques. I regularly participate in online and in-person critique groups, but it is not for everyone. Some people do better with, say, a single beta reader, some people do just fine without any critique of their works-in-progress at all. The ArmadilloCon Writers’ Workshop is a great way to experience a group critique situation at a fraction of the cost of some of the big genre workshops like Viable Paradise, Odyssey, or Clarion.

So, dust off that story that isn’t quite working or get cracking on something brand new. The deadline to submit a short story or first chapter is June 15. The maximum word count is 5,000 words firm (i.e. they mean it). Go here to check out the specifics.

The Writers’ Workshop will be on Friday July 24th, ArmadilloCon 37 runs from July 24th through the 26th

Watch for my next post: Workshop Survival Guide…

Friday, March 27, 2015

The Golden Hour

The Obliteration Room by Yayoi Kusama


Way back in 2011, when Paolo Bacigalupi was my pro at ArmadilloCon, I mentioned that I was worried about keeping up with my blog. He said, "Don't worry about your blog, you're a writer not a blogger, right?" This is seriously good advice, and it’s only taken me four years to begin following it.

I have had a productive spring, and find myself with over a dozen stories in submission – more than ever. The more stories I write, the more I value my fiction writing time. That said, I still need a place to park my random musings, so this blog isn’t going away. But, I will be updating less frequently.



THE GOLDEN HOUR


Even letting my blog slide, it’s a daily a struggle to carve out writing time. Anyone who’s tried to fit their creative endeavors around the beautiful chaos that is life knows that some days (or weeks or months) this harder to accomplish than others. When I get busy, I fall back on what I’ve come to think of as my “golden hour.”

In medicine, the term refers to the first hour after a trauma or medical emergency. The theory is that if the patient receives treatment within that hour, their chances of survival are significantly increased. A neglected story is like a casualty laying on the side of the road, vitality ebbing, waiting for the ambulance to come roaring up.

If I get caught up in the day-to-day and ignore my current story for too long, it dies a kind of slow death. When I come back to it, I have to backtrack, retrace my steps, rereading until I can revive it. This is time that would be better spent on the next story. Also, Something important happens when I touch the work daily. A story in progress is a living thing inside my head, and I need to keep the characters, the tone and emotion present.

I’ve found that one hour a day is enough to keep a story vital, present and workable. Luckily, since no lives are actually at stake here, I’m free break this hour up any number of ways. I’ll jump in for 30 minutes in the morning and grab another 30 while my kids watch videos in the afternoon. I’ve done four 15-minute chunks of revising. I plunge into the work quickly and immerse myself for however many minutes I have. 

During busy times, my golden hour is the lifeline that will keep my story alive – one hour at a time. 


Illustration from Hans Christian Andersen's Little Mermaid

BTW: My dark mermaid story, The Gyre, was mentioned on K.Tempest Bradford’s column on io9 alongside two other fantastic stories – one written by the award-winning Ken Liu! So, that is thrilling and an honor!

Thursday, October 2, 2014

The Game Plan: Story Structure for Football Season



Telling a story in three acts – or not.
(Bear with me: I'll get to the football soon, promise!)

As a storyteller, the concept of the three-act story form is unavoidable. The idea is particularly popular among screenwriters, and is found in numerous books, featured in lectures, and on countless websites. It is often applied to narrative storytelling regardless of the form. But wait! FILM CRIT HULK presents a counter argument to the idea of the three-act structure in his epic take down, The Myth of the 3 Act Structure:

 HULK HAS NEVER SEEN SOMETHING SO UNHELPFUL BECOME SO WIDELY ACCEPTED. SURE, IT MAKES SENSE AND IS A SIMPLE WAY TO SEE STORIES FROM AFAR, BUT IT’S ALSO SO SIMPLE THAT IT’S TAUGHT TO ELEMENTARY SCHOOL KIDS WHEN THEY’RE FIRST GRASPING THE CONCEPT OF NARRATIVE. AND WHILE HULK ARGUES THAT THE SIMPLE TRUTHS ARE OFT TIMES THE MOST IMPORTANT ONES, THE EXPRESSION OF THOSE TRUTHS SHOULD BE FAR MORE COMPLICATED. AND THE 3 ACT STRUCTURE IS NOT EVEN “A TRUTH.” IT’S A WRITING MODEL ATTEMPTING TO HELP YOU GET AT ONE. SO HULK THINKS THAT HOLLYWOOD COULD MAYBE STAND TO DO A LITTLE BETTER THAN A THIRD GRADE GRASP OF STORY.

Oh, preach it brother! Seriously, read the whole essay.

Of course, Aristotle laid down the foundation of narrative theory in his Poetics where he describes a story as “a whole [that] has a beginning and middle and end.” This is absolutely true, all stories have these three parts in some degree, but I think confusion arises when we conflate the idea that these three parts of the narrative will align with a story’s acts. In other words, all stories have a beginning, middle and end, but they can have any number of acts.


A story should have exactly as many acts as it takes to bring it to completion. That could be five acts or seven or twelve or more. I’m currently writing a short story with two acts (and of course, it still has a beginning, middle, and end).


For a practical guide to narrative structure (and a survey of popular theories of narrative structure including three-act and the Hero’s Journey) read John York’s Into The Woods: A Five Act Journey Into Story, which is one of the best books that I’ve read about story structure in, well, maybe ever. * In it, York defines an act as:



“A unit of action bound by a character’s desire.”

THE GAME
Last Monday night, I was sitting on the couch watching the Monday Night Football with one eye (as I do) and thinking about story. Recently, a friend asked me what I found appealing about football. As a writer, I enjoy watching sports because it reduces drama to its essential elements. Two teams take the field, both want to win, only one will. This is conflict in its purest form. When watching scripted dramas, I often get distracted second-guessing what the writer was trying to accomplish, or thinking about how the director’s choices affected the scene. I can’t help myself. While this has its own pleasures, a football game, with its direct conflict overlaid with the commentators’ patter to give a little color to the characters on the field, is just the thing after a long day in the word mines.

It's this no strings attached narrative that draws me in. By observing a football game’s narrative, we can see how its structure contributes to dramatic tension. We can see, with a just few rules to provide a framework, how flexible the parts that form the whole can be.


THE CLOCK

This is the most artificial construct of the game and the most necessary. It’s the running time of a movie, the word count in a short story or novel. Everyone can relate; the Clock itself is a kind of antagonist, ever present, stalking us all to our dying day. The winning team will try to run out the clock. The losing team is playing against, not just the opposing team, but time itself. This arbitrary limitation is the essence of what shapes the game. And it’s time and its limits that shape the stories we tell. But within the constraints of any given time frame there are an infinite number of variations.

THE DRIVE

When a team gets the ball, it tries to score with a series of plays that together form a drive toward the end zone. Like the act, a drive is a unit of action bound by the team’s desire to score. A drive is made up of a series of plays, and an act is made up of a series of scenes. A game can have any number of drives. A drive can end in failure after one broken play or a fumble, or in success with one magnificent Hail Mary pass. A drive can consist of dozens of running plays and short passes, making downs by inches, moving the chains just enough to keep the drive alive. A drive consists of exactly as many or few plays as it needs for the team with the ball to either achieve their goal (touchdown!) or fail (because they couldn’t make enough ground or they turn over the ball).

THE PLAY

Drives are made up of plays just as acts are made up of scenes. Each play is the very soul of conflict, the lines smash together, the linemen try to sack the quarterback, the quarterback sends the ball sailing toward a receiver - will it be caught and held, or fumbled, turned over for a reversal? Scenes are the basic elements of story. The binary code of success/failure that drives narrative.

THE STORY

Each game is bounded by the same rules, but no two games are alike and they can contain any number of plays that make up any number of drives. Yet, each game tells a story, one that we recognize as such on an elemental level. So, when you’re writing, while you know that every story will have a beginning, middle, and end, consider all of the myriad ways that you can travel that road.

 


* and believe me I’ve read more than a few.

Thursday, September 25, 2014

The New Novel Plan or I’m Making This Up as I Go Along.

U of Louisville puts entropy to work...
How do you plan a novel? I wish I knew; yet I keep trying. A plan is a comfort even when I know that it is no more than a container. A vessel that I fill with both my dreams and my commitment to chase them, a fragile clay pot to stand against the universe’s inevitable urge to entropy and all the myriad ways that manifests in my everyday life. For more on that go read Pamela Zoline’s Heat Death of the Universe (PDF). 

I was all set to blast through this novel in about three months. The outlining is finished, and I’ve been drafting the new first chapters to work with the material I’d already written. Then, a couple weeks ago I got word that I’ve been invited to attend the Turkey City Writers’Workshop later this fall. I’m thrilled, and I really want to write a shiny new story for it, so that I can get the most out of the workshop.

Yet, I don’t want to completely abandon my novel, so I’m changing my plan. Instead of drafting it at white-hot speed, I’m going to work on it super slowly. I’m going to use the “Don’t Break the Chain” method and write at least 25 minutes – and no more than one hour – a day, every day. This will probably get me about 350-500 words a day. At this pace, I should have a finished draft in about six and a half months. Of course when I get to the other side of this workshop, I’ll decide if I want to change my plan again.


Sunday, September 7, 2014

Cast of Wonders Produces my Short Story – Flotsam – for your Ears!


Hey, Sunday!

Listen to my short story, Flotsam, for free over at the Cast of Wonders.

I’m so glad I discovered this nifty little outfit! Cast ofWonders is a Parsec Award* winning podcast out of Britain that specializes in Young adult fiction. As a reader and a parent, I love listening to novels, stories and podcasts. I also love reading out loud to my kids. I believe hearing stories, as well as reading them, is a great way to broaden your experience with all things literary. That’s why it’s so wonderful to find people who are passionate about bringing great stories to kids ears.

Be sure to check out their Camp Myth project while you’re there.  
“Cast of Wonders presents the first Camp Myth novella, Phoenix Watching, as a full cast audio drama serialized over 15 episodes. Each episode also features a camper spotlight, showcasing the rich and divers cast of characters.” 
Listen to it for free, get it on Kindle or spring for the actual, physical book. Camp Myth has its own very cool website and there’s even an RPG game – I think these guys get kids!



* The Parsec Awards are a “celebration of speculative fiction podcasting.” They’re like the Hugos of the podcast world. If you’re looking for great spec fic podcasts, these awards are great place to start!

Thursday, August 7, 2014

Read My Diorama Story at DSF & Writing Process Blog Tour

The outline on the window
Today you get two blog posts for the price of one!

First, the end of summer is in sight, and soon the kids will be returning to school. It’s in that spirit that I hope you enjoy my diorama story. I really enjoyed writing it. Be sure and stick around Daily Science Fiction to check out some of the other great stories on this site. This fine venue has been reliably publishing fantastic writing for years. I am so proud to be published by them!


Second, Patrice Sarath tagged me for a Writing Process blog tour, which is tricky as my process is almost certainly still evolving. The best I can do is give you a snapshot of what my process is today.

What am I working on?
My first novel! Well, technically no. I’ve made a couple attempts before this one including a couple NaNoWriMo novels. But, I won’t be inflicting those on anyone else’s eyeballs. Those early attempts taught me a lot about the craft. It’s good to have a couple novels to line the bottom desk drawer where they can live out their days in dark and quiet solitude.

How does my work differ from others in its genre?
I dunno. I love reading both literary and genre fiction, so I guess my work sits at the crossroads of those two. I’ve always liked being hard to categorize, except when I’m asked to describe myself.

Why do I write what I do?
I love exploring our world in all its gorgeous complexity. For me, both reading and writing is a way to slip the surly bonds of reality, to travel places that can only exist in our dreams and imaginations.

I’m devoted to science fiction and fantasy, but animal stories were my first love: Call of the Wild, Watership Down, Black Beauty, The Incredible Journey, Charlotte’s Web. You get the idea. I find that animals often show up in my stories. I am intensely interested in how we go about defining ourselves from the natural world around us.

How does my writing process work?
Since I’m working out how to go about writing a novel, I’ll speak to that. Frankly, right now, it’s a journey of discovery with all its pleasures and frustrations. I put up a word counter on the side bar, but haven’t added any new words yet, because I had to stop drafting and go back create a better outline. I’m pretty sure I’m not a pantser (someone who writes a draft by the seat of their pants). Outlining helps me develop the story as a whole, and I need that in order to have the confidence to wade in. I don’t think I can just cast off into open water. I guess I’ll find out more about myself as a writer as I work through this project.

Now, I’ve got a card for each major scene. I’m journaling to work through the many questions that have presented themselves as I worked on the outline. Next, I’ll start going card by card, scene by scene with some time in the evening devoted to working out “meta” thoughts and story problems in my journal. This way, with a rough road map and solving problems as I go, I hope to make steady progress.

So, that’s my process. Today…

D.L. Young and Aaron DaMommio tag you’re it!

Here's a cheetah and a dog playing tag.

Thursday, June 26, 2014

Withdrawing an Accepted Story or We’ll Always Have Paris


I’ve withdrawn an accepted story – crazy, right?

I continue to walk the path of traditional publication, because it suits me. There are so many exciting genre and literary publications out there to submit to. More than I could ever write stories for. I like working with editors, and even slush readers. The term “gatekeepers” isn’t a dirty word to me. Sure they may have their preferences, but these people put their eyeballs on more stories in a month than I read in a year.

The majority of editors I deal with are doing what they do for the love of a great story (the same reasons that I’m writing). Even in my slender experience working with editors over galleys, I’ve learned new skills and techniques that I can apply to the next story.

But there are pitfalls, too. Editors, like the rest of us, are human. They have day jobs and families and a million other commitments. Early in 2013 I sold a story to a certain market, I signed the contract and then waited for galleys, publication, and eventual payment. This is usually a slow boat, and I know that, but after a year passed with no word of a planned publication date for the anthology my story was to appear in, I began to get a little frustrated.

This is the reason contracts are so useful. The contract I signed was a basic one and included a reversion clause (most do, but after this experience, I’ll be making sure all my contracts have one). A reversion clause basically states that if the publisher fails to publish said story in a specific amount of time (usually 12-18 months), all the rights revert back to the writer.

I was torn. I know writers who have had great experiences with this publication and the editor seems like a stand-up guy. There’s a temptation to just give it a little more time. Part of me wanted to just be nice and let things lie, but I also felt like I was abandoned on the wrong end of a broken promise. Besides, in the turbulent world of small publications, eZines and podcasts, “someday soon” often never comes. Finally, after the twelve months plus an extra month grace period, I decided to take my story back.

Even though I’m beginning the submission process again with this one, I feel better. So much so that I’ve decided to make this a personal policy with all my stories (hopefully won’t come up that much!).
It doesn’t take much to see that the problems of my little stories don’t amount to a hill of beans in this crazy world.
But I believe that – just as I hold myself accountable to treat editors, publishers, and slush readers professionally – I’m going to hold the editors who buy my works to the terms of their own contracts. Since payment is almost always “upon publication,” all a writer has between when a story is bought and when it is published is a promise – So it’s a good idea to make sure that promise is in the form of a contract.

Making a sale is always exhilarating, and when things don’t work out you can remember what Bogart said to Bacall at the end of Casablanca, “We’ll always have Paris.”


Friday, September 13, 2013

Last WorldCon Post

A DRD (Diagnostic Repair Drone) came all the way from Farscape.
Here's the rest of it.*

I'll be back to our regularly scheduled programming (i.e. whatever tickles my fancy or chaps my hide) next week.

SATURDAY:

Breakfast with a dozen or so conventioneers, only a few of whom I knew, now I know more genre people. The delicious, if expensive, buffet went a long way toward soothing the rather prevalent hangover situation.

The How To Write a Short Story panel had a great lineup of some of my favorite writers dispensing nuggets of pure, golden wisdom:
Michael Swanwick, James Patrick Kelly, Vylar Kaftan, and Cat Rambo
  •  Short fiction is where the new ideas and forms are forged. 
  • Aim high, not just the next sale, aim to make all science fiction to date obsolete. Now that's shooting for the stars.
  • Short fiction is a good place to work on beginnings, middles and ends.
  • Short fiction is also a great place to find your voice. 
  • Stop looking for heroes, look for who gets damaged in the story
  • If a story isn't working, sometimes you need to put it in the drawer to let it mulch with other story ideas
  • Don't hoard your ideas - use them all up. Using them up is what generates more.
  • Try everything, find what works for YOU.
  • Kaftan pointed us to her great blog post The super-cool magic short-story formula. I plan on trying this as a writing exercise as soon as I'm finished with this post!

Kaffeeklatschs:

I sat down with Gabrielle de Cuir and Stefan Rudnicki of Skyboat Media. They've been in charge of the Lightspeed podcasts for some time now. I've listened to their voices narrate so many stories, it was trippy to sit down and have a conversation with them. They are just finishing up with a full cast audioplay of Ender's Game called Ender's Game Alive. They were amused and maybe a little appalled when one of the other attendees admitted that she bumps up the playback speed on her podcasts when she's in a hurry.

After that, I sat down with Tobias Buckell and David Nickle. I know Buckell more from his blog than his books though I have Arctic Rising on my to read list. Nickle brought some of his books, published by ChiZine, and they were gorgeous. Both Buckell and Nickle were friendly and generous with writing advice and anecdotes.

Another panel about short fiction, this one titled Short Stories - What's Next? Another stellar group of writers and editors: Kij Johnson, David Levine, Steven Silver, John Joseph Adams, and Damien Broderick

  • There was a lively discussion as to whether length is becoming irrelevant. Certainly electronic publishing does not have print costs, and print-on-demand also mitigates up front print costs, but Adams points out that if you're committed to paying writers pro rates, the costs are still a factor.
  • Kij Johnson noted the premise that Science Fiction is a literature in conversation with itself (true of all art IMHO), and sees many stories embellishing or rebutting other stories out there. She noted that stories can now respond to each other nearly in realtime because of new technologies. The panel agreed that there are many stories in dialogue with all kinds of media (i.e. responding to movies, comics, TV -  and not just recent material, e.g. Star Trek).

Paul Cornell
I'm not a cosplayer, but I enjoy admiring other people's costumes, so I checked out the Masquerade. The costumes ranged from fantastic to strange to hilarious. The kids category was adorable through and through. Paul Cornell, Master of Ceremonies displayed his aplomb throughout a technically challenged show (I believe the tech was run by volunteers, God bless 'em. Seriously, tech is hard!) Cornell kept everyone entertained through all the glitches.

After that it was off to the room parties. Patrice scored an invite to a party thrown by a Texan scifi fan in the presidential suite. There I got to chat with David Brin, Michael Swanwick, Neil Clarke, Rachel Swirsky, and Ann VanderMeer! And Patrice got to talk with Lois McMaster Bujold. Honestly, I could have gone home after that and been completely satisfied with my WorldCon experience. But we soldiered on and went to more room parties including the Drabblecast party where we caught up with Matthew Bey and Norm Sherman. I also met Abigail Hilton, an indy author and podcaster. While I don't have the time or gumption to go the indy publishing route, I am always interested in hearing about how others do it.
One of a myriad of room parties.
SUNDAY:


The presenter, Higashi Masao, has edited
three volumes of Japanese ghost stories.
Disaster and the Literature of the Supernatural, wasn't so much a panel as a presentation about the nature of ghost stories in Japan both in the past and today. In Japan there is a deep connection between the literature of the supernatural and natural disasters such as the Tsunami of 2011. Here's a quote from a short film the panelists brought about the ad hoc shrines to the dead that sprang up amid the devastation the Tsunami left behind:

"Each of us alone is weak and powerless, but even the longest story begins with a single letter." 
Of course I had to check out the panel with the wildly optimistic title of The Anthology Renaissance: The Return of the Short Story Market. It boasted another great line up of editors: Neil Clarke, Ellen Datlow, Gordan Van Gelder, Kasey Lansdale, and Rick Klaw. They discussed:

  • the growth of flash fiction on the internet.
  • that there are more novella markets doing chapbooks - more but it's still a tough market.
  • that unthemed anthologies don't sell well. This was an interesting fact for me. I prefer unthemed anthos for the variety, and the panel noted that many people SAY they prefer unthemed anthologies, but they don't BUY them. Hence the proliferation of themed anthologies.
  • how they ordered anthologies. (Even though people often read anthologies out of order, they still order them with the idea of reading straight through.) The first and last stories are usually the strongest ones. The first story has to be accessible, to invite the reader in and set the tone of the book. The longest story often next to last, with a shorter one at the end as a grace note.
  • the impact of Kickstarter on the anthology market, which is generally positive. From an editorial perspective it has its own challenges, but can be an excellent option if an editor wants complete artistic control over a project.

Selling Poetry, with Mari Ness, Jo Walton, Rachel Swirksy, stayed true to its no nonsense title and was stuffed with lots of interesting information about speculative poetry markets and also poets that I will have to check out.

Markets:
Goblin Fruit, Stone Telling, Strange Horizons, Electric Velocipede, and Mythic Delirium.

Poets (including the panelists!)
Mari NessJo Walton (posts most of her poetry on her LiveJournal, scroll down),  Rachel SwirkskyNancy Hightower, and Catherynne M. Valente

THE HUGOS!
  • I discovered that awards shows are much more interesting if you're invested in what the awards are for and who's on the ballot.
  • The short story I voted for didn't win, but they were all good stories so it's hard to hold a grudge. 
  • I watched George R. R. Martin and Game of Thrones cream three episodes of Dr. Who. in the Best Dramatic Presentation, Short Form. Nothing against Dr. Who, but seemed apt somehow, GOT being so warlike and all. 
  • I have decided that Paul Cornell should host the Oscars. Someone make that happen, OK?
MONDAY:

I was pretty exhausted at this point, so I focused on finding some gifts for the family in the dealers' room and chatting with old and new friends and acquaintances. I did manage to go to a science panel about the Cambrian explosion (I love me some biology).

The last thing I went to was Nancy Hightower's reading. She read from her forthcoming novel Elementari Rising, a flash fiction piece, and three amazing poems. She also mentioned that she's been published in Bourbon Penn, a magazine I am soon to be an alumni of as well!


Nancy Hightower
File under miscellaneous:

  • I got to meet one of my Online Writing Workshop crit buddies, D. L. Young. We had a long talk about fitting writing in around family and kids and about the pros and cons of different kinds of face-to-face critique groups.
People who I didn't see or talk to nearly enough:




* This isn't an exhaustive report, just the highlights. WorldCon was great, but it's gone on long enough!