Wednesday, June 30, 2010
Monday, June 28, 2010
According to the last census, forty million Americans move each year -- roughly one in seven. This includes local moves, most of which seem to occur in and out of my apartment building. With all this shifting of population, you'd think someone would buy my house in Rochester, New York. No such luck. Six months after I put it on the market, it still sits a-begging.
In the evening, Jack and I had dinner with Eileen Gunn, John Berry, and Gardner Dozois before Gardner flew back to Philadelphia. Gardner had some interesting suggestions on how to sell my house. These included (1) commit a murder there to attract people who want to live in a house with a ghost, and (2) establish it as the Nancy Kress Museum. Since the first of these ideas is not practical and the second laughable, we drove Gardner to SeaTac and put him on a plane east.
Sunday, June 27, 2010
An autographing session followed, and then the lunch banquet. This was accompanied by Connie Willis conducting the traditional Hawaiian shirt contest. Charles N. Brown always wore Hawaiian shirts, and Connie began with a tribute to him. The finalists in the shirt contest are grilled by Connie:
Ted Chiang, for the upteenth year in a row, refuses to wear a Hawaiian shirt and is duly chastised by the implacable Toastmistress...
Wednesday, June 23, 2010
Writers like to do this sort of thing. I once read a frame story in which the author used the frame to directly harangue the reader. Immediately I sat down and used the same form to write "Casey's Empire." I know of another writer who, after coming across Terry Bisson's "They're Made of Meat," wrote a story entirely in dialogue. Sometimes these experiments don't work (notice I'm not giving the Bisson-inspiree's name). But even when they don't, they represent efforts to expand one's range.
More serious borrowings can include trying to imitate another writer's style (my first novel was a direct set at Peter Beagle's lush style, a fact noted by every single reviewer who noticed the book). Plot patterns, too, are fertile ground for imitation. You can make the argument that Ursula LeGuin's "The Dispossessed" uses the same plot as Frank Baum's "The Wizard of Oz," and that both hark back to the fairy tale "City Mouse, Country Mouse."
An important point: Such borrowing are not theft. They are, instead, "acts of homage." :)
Friday, June 18, 2010
Yesterday we critiqued three stories, and then Walter and I gave a joint two-hour lecture on the business side of writing: contracts, agents, publishers, career paths. One of the things that happens at a workshop like this is that the instructors are far more open about names, numbers, and incidents than they would ever be on a public panel at a con. Our goal was to describe the publishing world as we and our friends know it, while fully warning students that same world is in a state of flux right now even more roiled than its usual flux. By the time they publish novels, all could be different. Certainly it is different from when I entered the SF field decades ago.
We also gave the students an assignment, which grew out of Wednesday's work on description, and which Walter borrowed from Ursula LeGuin. The assignment, provocatively called "Chastity," is to write an entire page of description without a single adjective or adverb. I have just reviewed these assignments, and in at least two cases, it has made a startling improvement in the writers' prose. I'm impressed!
Memorable quotes from yesterday's critique sessions:
"Why isn't Anastasia reacting to the sudden presence of a rodent on her shoulder?"
"My experience with men is that they don't agree to marry at the drop of a hat. They don't."
"The canned Jesus is fantastic, and I really wish I knew what you meant."
"The good news is that your protagonist does some protagging."
"Life goes faster in a radioactive hell hole."
"All the women in these stories taste like strawberries."
Thursday, June 17, 2010
Memorable quotes from the last two days of critique sessions:
"I like the vomit. Keep it."
"'Orders of magnitude' beyond six billion people is a whole shitload of people."
"You need story values somewhere in here, dude."
"You have White Dragon Syndrome."
Tuesday, June 15, 2010
The workshop resumed work. We critiqued two of the new, second-week stories, from Lawrence Schoen and Barbara Webb. I lectured on the uses of effective description. Walter gave a very useful talk on the Three R's of plotting: raising the stakes, reveals, and reversals. In the evening, individual student conferences began.
But mostly there was a lot of writing. The deadline for stories is tomorrow, so people were hunched over computers in the common area, in their own rooms, even on the balcony despite an unseasonable cold snap. Everyone is trying to incorporate what was learned in Week 1 into stories for Week 2. Some memorable quotes from yesterday's critiques:
"Introducing a virus at the climax of the story strikes me as a Deus Ex Chemistry Set."
"If you want more criticism, write worse."
"I think stupid arbitrary aliens deserve stupid arbitrary justice."
Sunday, June 13, 2010
Saturday, June 12, 2010
In the afternoon, Walter held a brain-storming session to demonstrate how to plot a novel. The novel used was Sean Craven's. Key scenes were identified, written on index cards, and rearranged to create an overall structure that had varied pace, a logical flow of events, and the best possible use of subplots. Other people contributed ideas. Some of Sean's original scenes were dropped, moved, or combined. He was enormously pleased with the result.
The plotting session, however, was briefly interrupted in the middle when lodge staff arrived to change bed linen and towels. Walter announced, "The cleaning staff just arrived, so if there's anything in your room you wish to conceal, leave now to do it." Half the class rushed off. Sometimes it's better to not know.
Memorable quotes from today's critique sessions:
"Cut down on the number of boners because in a sword fight they are not a good idea."
"I like anything with hopping Chinese vampires in it."
"I'm tone deaf to humor but I believe this is maybe probably very funny."
Friday, June 11, 2010
A version of what is currently published also came up in the afternoon, when Walter took us through Samuel Delany's NOVA, pointing out how Delany had used foreshadowing, layering of symbols, and doubling of characters. The question arose: If this were a first novel by an unknown author, could it even get published in today's SF market? NOVA's dense prose, oblique approach to plot, and unsympathetic, psychopathic main characters might make it a tough sell to publishing houses increasingly under pressure to bring out books that will sell a lot of copies. No consensus was reached about NOVA. Personally, I don't think it would find a publisher today.
Memorable quotes from the critique session:
"There is no story that can't be improved by the addition of the right monster."
"I liked the Prologue once you got to the place where people's eye sockets are bleeding."
"The Harry Potter movie just came out tomorrow."
AND, from Walter Jon Williams, this deathless lyric poetry:
"Here we are at Toolbox,
All our happy crew.
Here we are at Toolbox --
Where the hell are you?"
Thursday, June 10, 2010
Plus, in the evening we had a showing of CASABLANCA, which Walter analyzed for its structure, imagery, and foreshadowing in the hopes that this would all migrate into the students' next stories. They are working on these for next week. In all, an intense day, and when people lag at showing up for events, Walter sounds the Airhorn of Summoning, which sounds roughly like a moose that has just been whapped by a bulldozer.
All is not work, however. People spend a lot of time hanging around on the balconies of the lodge, talking and enjoying the view. Wildlife wanders across the parking lot below. Hummingbirds come to the bird feeder which Lou Berger has hung from a balcony. Rich Baldwin plays his guitar. The lodge as seen from the parking lot:
There is also the hot tub, which began operation yesterday. Since CASABLANCA was accompanied by margaritas, I grew too sleepy for any more fun, but not so Lawrence Schoen, Danielle LeFevre, George Galuschak, Jason Musgrave, and Oz Drummond (image by Eric Kelley):
Memorable quotes from the day's critiques:
"You can't be both Orwell and Kafka at the same time." (This was later disputed.)
"'Madge' is not a good name for a fantasy character -- it reminds us too strongly of a dishwashing liquid commercial."
"If you want to fry people, you should use KFC instead of McDonald's."
Tuesday, June 8, 2010
Today in class we did three stories and had two lectures, a process that consumed nearly five hours. I talked about writing in scenes and Walter talked about plotting. Below is the class assembled for critique sessions. Note two things about this: Everyone works on a laptop. Paper is obsolete (except for me). Second, this is one of the few rooms at the ski lodge not lavishly decorated with moose, elk and bear. Elsewhere, animals cavort across rugs, pillows, bedspreads, serving bowls. It's like writing in a frozen zoo.
Memorable quotes from today's critiques:
"Why didn't his friends notice that he'd turned into a massive dick?"
"What do two hats do together?"
"I'm having trouble doing just one thing simultaneously."
Monday, June 7, 2010
The pens' leaking (well, they were very small explosions) was due to altitude. The computer was more difficult. Several people offered opinions in person, by phone, and by email. Several persons worked on it. Right now it is running, thanks to the expertise of the wonderful Barbara Webb. We shall see.
Today actually focused on writing SF, not on hardware. Class, which was held from 10:00 a.m. to 2:30 with breaks for coffee and lunch, began with Walter warning everyone that bears are especially active this year. He told us what to do if we encounter a bear while walking in the woods. Several of us promptly decided not to walk in the woods.
Each day features two mini-lectures, one by me and one by Walter. Today I talked about world building, Walter about plot structure. We also critiqued two stories. Memorable lines from critiquers:
"More science fiction should be about plumbing and toilets."
"If he's farting oxygen, he's basically a plant."
"I would not ask this group of diplomats to negotiate a pizza purchase."
Both authors said they received useful feedback, and I was very pleased with the level of criticism offered. PLUS -- the computer is still working! So far, anyway. Of course, it does have ink on it from one exploding pen, but you can't have everything.
Sunday, June 6, 2010
Walter Jon was here two weeks ago, and says that then this mountainside was covered with snow. But an abrupt turn in the weather skipped spring and brought Taos straight to summer.
Two attendees are already here; the rest arrive in shifts today, and class begins tomorrow. So far I am torn between wonder at the natural beauty and a wish that all this beauty was 3,000 feet lower. Ski Valley is 10,000 feet above sea level. I have altitude sickness, with all its unpleasant symptoms: light-headedness, nausea, and a screaming headache. So I am spending today acclimating, which consists mostly of drinking water, taking ibuprofen, and trying not to fall down stairs. Walter was wise to bring me here a day early. By tomorrow I will feel normal again -- won't I?
Tuesday, June 1, 2010
Science fiction is an indulgent pleasure for most of us. If it were going to be taxed, the legislature would first have to define it, something that endless panels at endless cons have so far failed to do satisfactorily. The law might therefore go the if-it-contains-flour route, and define anything as SF if it includes, say, an element from a skiffy list: Aliens. Robots. Space Ships. Artificial Intelligence. Thus:
Paolo Bacigalupi's WIND-UP Girl is exempt from tax.
Greg Benford is taxed for nearly everything except TIMESCAPE.
All STAR TREK novels are taxed until the heat death of the universe.
Mike Flynn is taxed for WRECK OF THE RIVER OF STARS but not for some of his short stories.
The Heinlein and Asimov estates close the entire budget gap in Seattle.
I am taxed for STEAL ACROSS THE SKY but not for BEGGARS IN SPAIN.
Lawyers get rich off court cases about SARAH CANARY -- was she or was she not an alien?
You see the possibilities for civic revenue, plus lots of entertaining shouting. So who's going to call the legislature?