As I mentioned last time, some of the panels were good and some were pretty good for catching up on sleep. A couple of them were very good. I could give you a detailed rundown of the panels I attended, but it would take too long and I'm too lazy, so here's the flash fiction version of each:
Gender-Bending in Fantasy
Gender-bending (the term recommended over "feminist") fiction, while recognized and lauded by the James Tiptree, Jr. Award , is a hard sell to many publishers and magazines. The Tiptree committee is basically looking for work that explores gender roles. They've sure picked some great stuff in the past and are seeking to recognize more.
The State of Fantasy and Horror
Rough, especially if you're in the UK or Canada. If your last name isn't Clarke or Gaiman, good luck getting published. Seek out the small presses and magazines. People who read fantasy novels usually don't read fantasy short stories. Fantasy SS writers have few markets (F&SF, Realms of Fantasy) and almost no SS tradition, while horror has an extensive SS tradition. In fact, horror writing is probably at its best in the short form.
Working On Your Craft: Writing as an Evolving Process (Part I)
To join a critique group or not? To have a first reader or not? The panel was pretty much divided. L.E. Modesitt remarked that critic's comments usually reflect more of them than of you the writer. Joe Haldeman says when critics consistently see something wrong with your work, that's probably what's right with your work. Interesting. He insists that characters, not plot, generate stories. Bottom line: keep writing and try to write something better than you did the last time.
Curse Words & Other Ways To Tell It Isn't a Children's Fantasy
"What's the difference between children's books and Young Adult books?"
Children drink Coke. Young Adults snort it.
The YA market is hot, mostly in the fantasy realm, but you can't push the limits like you could in the 90's. Some adults are just beginning to recognize that much YA writing is very good. YA writers get very offended when adults say things like, "That YA book was actually good. When are you going to write a real book?" The writer's response should be "Do you ask pediatricians when they're going to start treating real people?"
Just write what's appropriate and true. No kid says "Shucks" anymore; don't write it.
Good vs. Evil: Philosophy in Fantasy
A real snoozer until two panelists almost came to blows. Some boxing gloves and a ring would've solved the whole thing (and been much more entertaining).
Fantasy in Unexpected Places
No, not THAT kind of fantasy in THOSE kinds of unexpected places. While the "sub-Tolkien maggots sell," the use of language can lift traditional fantasy to another level (Clarke, Wolfe, etc.). When we're in the world of the strange, but not quite sure what's going on, that can be exciting. When your reality is challenged, you want more. Try to distance yourself from what's traditional. Push your stories into experimental directions.
The Art of Review and Criticism
Writers, be nice. Jerks get bad reviews.
The Reader: Foundation of Fantasy
One of the good ones, well moderated by Ann VanderMeer. Anytime a writer promises to give the reader entertainment value, the work is usually dumbed-down. You have to learn to read well; exercise your reading, read things that are difficult. Read structurally, look for shapes and patterns. Good writing intrigues readers.
What does the writer owe the reader? To make the story work on every possible level. There the obligation ends. Jay Lake states "I don't owe you (the reader) anything. If I try to write for you, I've failed. All I owe you is what I owe the story."
Dark Fantasy for Kids (As opposed to light fantasy?)
How dark is too dark? Jane Yolen: "I don't mind the torture, just don't show it fingernail by fingernail." Some kids' comfort levels are in different places. Dark can show where you have or haven't been. For some, the darkness is a cup of borrowed courage. For others, it's recognition. For still others, dark stories are a path away from their own darkness, a reminder that you don't have to remain stuck in the same place.
That's it! Enough!
Now Playing = "My Funny Valentine" – Chet Baker
Now Reading = Tainaron – Leena Krohn
4 comments:
Hey, cool. It's fun to read about all the panels. I like the comment about YA writers compared to pediatricians.
The comments on a critique group is interesting; I talked to a novel-writing teacher at school who dissed the Creative Writing MFA workshops by saying, "I don't know any great writers that came out of a situation like that." But then, I'd have to point to Clarion and OWW and say, "Look at all these great writers!"
I want a Tiptree. That's my goal. I just finished my fourth book, and there's enough gender-bending strangeness in there to get some attention, once I convince someone to buy it.
And you're listening to one of my favorite songs again. Awww.
I think the strength of Clarion (I haven't had any experience with OWW, but it's probably true there too.) is that it doesn't try to change your writing voice, just improve it. Yeah, you can't argue with the results; just look on the shelves.
The panelists seem to agree that the small press is the path to the Tiptree. Try Small Beer. See what happens.
You can't get away with "telling" about panelists nearly coming to blows in a Good vs. Evil discussion without "showing" some details.
Sounds like you had a great time.
It also sounds like the refrain of advice to aspiring authors is still to worry less about what writing sells and more about what writing works.
Yeah, but I don't think that is what Haldeman meant.
I actually think he might have something there too.
Sometimes ten people can tell you, "You're ending is wrong. There is no ending, you need to tag on a more concrete ending."
And they can be completely wrong. If you're gut feeling says, "don't change that ending," then don't change the ending.
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