Last summer my friend Kelly Sandoval wrote a story during Clarion West. She almost didn’t finish it because she didn’t like it, but she thought better of it and turned it into workshop. It was a sweet (and darkly funny) story, about an awkward teenage girl who is gifted an electronic pet that tells her how to navigate social situations.
My immediate response was Jesus fucking Christ do I want one of those… Which was pretty much the reaction of a lot of other people in workshop and she eventually changed the title to reflect it.
Because seriously. It’s an adorable kitten that tells you what to say and how to act so that no one laughs at you… Continue reading
I’ve always been an avid reader, but not always of genre fiction. And certainly not always of genre short fiction. I know there are plenty of SF/F writers who grew up reading F&SF or Asimov’s or Analog but I was never one of those people.
Most of the genre fiction I read in high school and college was militaristic SF. Ender’s Game (and its various permutations), The Forever War, Dune & Pern and all of their sequels (not quite militaristic, but a similar feel). The first anthology of SF fiction I bought was ‘The Best Military Science Fiction of the 20th Century.’
I also read Isabel Allende, though I thought her more of a literary writer than fantasist. And of course I read Lord of the Rings because I didn’t want to see the films before I’d read the book.
And as my novel reading expanded, and as I started taking more creative writing classes at Tulane, I thought maybe it’d be a good idea to read more genre short fiction and bought The Year’s Best Fantasy & Horror Volume 16 edited by Ellen Datlow and Terri Windling. What I particularly loved about this anthology was the front section where they recommended novels in various fantasy genres (Urban, Epic, etc). It’s how I learned about Patricia McKillip’s Riddlemaster Trilogy which I devoured in a matter of days.
So clearly this is the point where I read the anthology, become obsessed with genre short fiction and that’s how I ended up where I am today.
Except no. Not at all. Continue reading
Every year Clarion West holds a big fundraiser to help defray the costs of the yearly workshop. Writers sign up to write, and sponsors sign up to throw money at Clarion West in the name of those writers.
What is Clarion West? (I know most of you know this, but in case you’re a billionaire philanthropist wandering the blogosphere for worthy projects, this bit is for you)
Clarion West is a six week writing workshop held in Seattle, WA. Writers from all over the world apply, and only 18 are selected. Each week we have a different instructor–someone who is well established in the field, an excellent teacher, and basically a giant, fluffy ball of awesome (last year my instructors were Liz Hand, Neil Gaiman, Joe Hill, Margo Lanagan, Chip Delany and Ellen Datlow). We spend most of our time writing (we each turn in a story a week) and reading each other’s work (we critique stories in the morning–3 or 4 each day). Some people have called it the 6 Week MFA–which having attended one MFA program and being in the process of procuring another–is a fair statement. Though clearly the best thing to do is go to Clarion West and then to NC State’s MFA Program (which is what I’m doing because I’m brilliant like that). Continue reading
Apparently all my blog posts lately have been on dates ending in 5. I was sad this afternoon because I couldn’t think of anything to write about, and then realized I forgot to mention this: I’ve been named as a guest judge for Spark’s latest contest, the theme of which is “Fables.” You can find more information here. The contest is for both poetry and prose, and there is no fee to enter. Grand prize is $500 plus publication in Spark: Volume VI.
The January/February issue of Black Static contains the story “Passion Play” by Malcolm Devlin (aka Vince Haig).
I first read this story during the third week of Clarion West and fell in love with it pretty much instantly. I loved it so much I even didn’t care that the re-enactment of a missing person’s last moments for the press made absolutely no sense to me as that’s not something people do in the United States.
I loved it because it was a ghost story. I loved it because it was delicate and fragile. I loved it because of the nuns. I loved it because it was about a friendship between two girls that fell apart. I loved it because of the ending. I loved it because it was beautiful and perfect and strange.
I loved it despite the title (which I still hate).
I loved it despite the fact it was 6900 words.
The story is a little longer now. And a few things have been changed here and there, particularly the ending (not the last few lines, which were gloriously perfect and remain so, but the final scene). But the most important thing is it is published. It is in print. It is now and forever on my bookcase.
And I love it just as much now as when I first read it. And I know you will too.
Issue 3 of The Dark has been released on Weightless Books. Don’t know when the stories will be put up on the website but my guess is soon.
“Burial” is the first story I wrote after coming back from Clarion West. I cheated a little by relying on a first paragraph I had written beforehand (and it really is cheating considering the story only has about 8 paragraphs in total). It’s an odd little thing. My workshop wanted me to try to expand on it and make it a bit more logical, but ultimately it is what it is.
Edit: The story is now online at The Dark
Lois Tilton reviewed The Dark and recommended my story as well as “Zeraquesh in Absentia” by Benjanun Sriduangkaew.
On the first day of Workshop this spring, John Kessel introduced me to a new framework of examining stories: the Formalist approach (where technique is all that matters) vs the Humanist approach (responsibility of content). He was discussing it in the context of novels such as Lolita which a Formalist would praise due to its craft, whereas a Humanist would be bothered by the fact that it’s about a pedophile and doesn’t do enough to condemn him. Having never read Lolita, I can’t really wade into that particular debate, but it’s something I’ve been thinking about off and on since then. Which is more important: telling a good story, or telling a story that supports good values. Obviously the easy answer is ‘do both’ but I think I generally fall on the Humanist side of the equation as a reader. I’m more interested in reading things which challenge sexism and racism, than a story that is technically flawless, but seems to support a world view which I find abhorrent.
For my screenwriting class we’ve been assigned to read Washington Square by Henry James. James apparently based the main character, Catherine, on his sister. To that all I can say is thank god my brother is an artist, not a writer. Because fuck. Continue reading
On a writing forum I saw the following question:
Suppose someone brand new to publishing wants to start submitting short stories, where do you suggest starting?
I had a cheat. When I started writing fiction, I went to Orson Scott Card’s Bootcamp. While the workshop was useful in a few respects, the best thing I got out of it was my friend Oliver. I knew nothing. Oliver, it seemed, knew everything. He told me about Speculations and the Black Hole (the Duotrope of its day). He (metaphorically) held my hand as I revised stories and considered sending them for publication. He also hinted that I shouldn’t send that one story off to Realms of Fantasy (my first fiction submission). He was right in the sense that it was unpublishable, but wrong in the sense that it would be years before I would write anything publishable, and holding off on submitting stories until I was ready would’ve meant I didn’t learn as much in the intervening years.
But you don’t have an Oliver. So here’s what you need to know: Continue reading