So remember the writing prompt contest we had in May? We’re ready to announce the winner:
With a full 50% of all the votes cast, the winner is Colin Sinclair, with the prompt, “Never try to hang a magician.”
So remember the writing prompt contest we had in May? We’re ready to announce the winner:
With a full 50% of all the votes cast, the winner is Colin Sinclair, with the prompt, “Never try to hang a magician.”
Those of you who know me well, know that Connie Willis wrote a novel that’s very much shaped and cemented my love for the genre — a novel I reread every year. Her entire body of work is nothing short of awe-inspiring. She’s a great American writer, not “just” a great SF writer.
For an overview of what this is all about: Freeping the Hugo Awards
Reposted in its entirety, with permission from the Connie Willis site: http://azsf.net/cwblog/?p=116
WHY I WON’T BE A PRESENTER AT THE HUGO AWARDS THIS YEAR
WHY I WON’T BE A PRESENTER AT THE HUGO AWARDS THIS YEAR
by Connie Willis
I’ve been asked by David Gerrold, this year’s Worldcon Guest of Honor and one of the Hugo Awards emcees, to present the Campbell Award at this year’s ceremonies. Ordinarily, I’d be very flattered and would jump at the chance, but this time I’m afraid I’m going to have to tell him no.
I don’t want to. I love the Hugos. I can still remember how thrilled I was the first time I was nominated for one. It was the fulfillment of a dream I’d had ever since I was thirteen and had opened up Heinlein’s HAVE SPACE SUIT, WILL TRAVEL and fallen into the magical world of science fiction. I was nominated for a short story called “Daisy, in the Sun,” and I didn’t win–I lost to George R.R. Martin–but just being nominated and being there at the awards ceremony was more than enough, and then on top of that, I got to talk to Robert Silverberg and watch Damon Knight emcee and meet all these famous authors who were my heroes. It was one of the happiest nights of my life.
Since that first time, I’ve won Hugos, emceed the awards ceremony twice, and presented countless awards. I’ve handed Hugo Awards for all kinds of fiction to all kinds of authors, told them congratulations, beamed at them as they made their acceptance speeches, hugged them, and helped them down the dark stairs backstage afterwards. I’ve loved doing it. And I’ve loved everything else about the Hugos–the anticipation and the nervousness when you’re a nominee, the fun of bantering with George R.R. Martin and Mike Resnick and doing comedy routines with Robert Silverberg, the excitement of watching authors and artists you love be awarded for the work they do, and the joy of being in a room with thousands of other people who love science fiction as much as I do. I’ve adored every minute of it. Till now.
You may or may not have heard of the Hugo crisis currently facing the science-fiction community. (If you haven’t, I recommend Susan Grigsby’s excellent article on Daily Kos entitled, “Freeping the Hugo Awards.”) Basically, what’s happened is that a small group of people led by Vox Day/Theodore Beale and Brad Torgerson took advantage of the fact that only a small percentage of Hugo voters nominate works to hijack the ballot. They got members of their group to buy supporting memberships and all vote for a slate of people they decided should be on it. Since everybody else just nominates what they like, and those choices vary quite a bit, nobody else stood a chance, and the ballot consists almost entirely of their slate.
When I heard about this, I was sick at the thought of what they’d done and at all the damage they’d caused–to the nominees who should have made it on the ballot and didn’t; to those who’d made it on and would now have to decide whether to stay on the ballot or refuse the nomination; of the innocent nominees who got put on Vox Day’s slate without their knowledge and were now unfairly tarred by their association with it; and to the Hugo Awards themselves and their reputation.
But I didn’t want to speak out and refuse to be a presenter if there was still a chance to salvage the Hugo Awards ceremony. I wanted to do it if I could for the sake of the nominees who were on the ballot honestly and for the sake of the people putting on the Worldcon. And for the poor emcees who had the terrible luck to be chosen to host the awards this year and have watched what should have been one of the highlights of their careers turn into a nightmare. David Gerrold is an old and dear friend. The last thing I wanted to do was let him down. Plus, I’ve generally found that wading in to controversies with your two cents’ worth (even if you’re personally involved and were onstage when they happened) only tends to make things worse, not better.
But then Vox Day and his followers made it impossible for me to remain silent , keep calm, and carry on. Not content with just using dirty tricks to get on the ballot, they’re now demanding they win, too, or they’ll destroy the Hugos altogether. When a commenter on File 770 suggested people fight back by voting for “No Award,” Vox Day wrote: “If No Award takes a fiction category, you will likely never see another award given in that category again. The sword cuts both ways, Lois. We are prepared for all eventualities.”
I assume that means they intend to use the same bloc-voting technique to block anyone but their nominees from winning in future years. Or, in other words, “If you ever want to see your precious award again, do exactly as I say.” It’s a threat, pure and simple. Everyone who votes has been ordered (under the threat of violence being done to something we love) to let their stories–stories which got on the ballot dishonestly–win.
In my own particular case, I feel I’ve also been ordered to go along with them and act as if this were an ordinary Hugo Awards ceremony. I’ve essentially been told to engage in some light-hearted banter with the nominees, give one of them the award, and by my presence–and my silence–lend cover and credibility to winners who got the award through bullying and extortion.
Well, I won’t do it. I can’t do it. If I did, I’d be collaborating with them in their scheme.
So to David, I have to say, with genuine regret, “I am really sorry I have to turn down your kind invitation.” And to the people running Worldcon, “I’m sorry I can’t present at the Hugo Awards ceremony, but I’ll definitely be attending the convention, and I’m supporting you all the way.”
To everybody else caught up in this mess, I want to say, “I totally respect whatever you’ve decided you have to do–to remove yourself from the ballot or stay on, to vote for ‘No Award’ or not, to participate in the ceremony or not, to boycott the Hugos or Worldcon or attend them. I know how hard it was for me to make my own decision, and I have no intention of second-guessing anyone else’s.”
And finally, to Vox Day, Brad Torgeson, and their followers, I have this to say:
“You may have been able to cheat your way onto the ballot. (And don’t talk to me about how this isn’t against the rules–doing anything except nominating the works you personally liked best is cheating in my book.) You may even be able to bully and intimidate people into voting for you. But you can’t make me hand you the Hugo and say “Congratulations,” just as if you’d actually won it. And you can’t make me appear onstage and tell jokes and act like this year’s Hugo ceremony is business as usual and what you’ve done is okay. I’m not going to help you get away with this. I love the Hugo Awards too much.”
April 14, 2015
Guest Post by Eldon Hughes
P to the 4th power? P-Diddlying? Whatever.
It’s what doing NaNoWriMo successfully is all about, taking advantage of the power of positive peer pressure.
Every year since 1999 a growing horde of strangers and friends get together in groups, online and face to face, all over the world. At the end of the month, many of them will claim the prize — the title of Author of a book more than 50,000 words long.
Years ago I was the first Municipal Liaison for the (Southern) Illinois – Elsewhere group. Yeah, “Elsewhere.” That was my second NaNo. I ML’d a couple more years and then passed it on to others who lived closer to the neighborhood. I’ve won every year I’ve attempted NaNo (7-8? times.) If you’re interested, you can read one of my NaNo Novels, Willie & Frank, here. Even better, you can get Dust to Dust, Book Two of the Poison and Wine Series, here. It was written over a NaNo. Some would suggest that that’s cheating, since it was written by two people. I would point out that the first draft, written during NaNo, topped 100K.
Sometimes NaNoing involved being cheered on by and cheering on others. Sometimes it was challenging myself against people online. Sometimes it was sitting, face to face, in a room full of people just as enchanted by the magic of words as I am. People who share our particular brand of crazy. I can tell you that about half of Willie & Frank came from dares or challenges that year’s local NaNo group gave me.
Rounding the numbers, last year 690,000 people announced their own start in the novel attempt. 310,000 of them reported crossing the 50,000 word mark. Less than half is about normal. My guess is, some of those who didn’t make it started the month more in love with the idea of being a writer than they were with words. (We’ve all met folks that.) My bet? Most of the rest, who didn’t finish, didn’t take advantage of the power of positive peer pressure.
You can find the nearest NaNo Groups to you, on the NaNo website. Not every group is right for every writer. If there are several, find the one that works for you. Some of them are more motivated by the word wars than the words themselves. Some are more interested in chatting and talking about the writing they are doing when they aren’t together than actually writing at the gatherings. Some are a smile, a wave and a “how many words have you got?” Then they are heads down over keyboards or paper and pen, back at the writing. — A quiet acknowledgement of the shared madness, if you will.
None of those are wrong, per se. But which one is right for you? Maybe you aren’t a face to face kind of person. I hope you will at least try it and find out first, but maybe your group is on Facebook? Or Twitter? Or the NaNo site?
If there’s not a group anywhere near you? Start your own. NaNo prefers that their Municipal Liaisons be past NaNo Winners. They also prefer that they apply for this unpaid, volunteer position by July. But they love to hear from motivated writers who want to volunteer.
For that matter, go rogue. Go wild. If you’re writing in the middle of nowhere, like I am these days, slap up some “contact me” cards at any area coffee shop, library, craft shops or anywhere used books are sold. Basically, the kinds of places you like. You’re a writer, makes sense other writers like those places, too, yeah? Make a few like minded contacts and shazam, you’re in a group of writers. Just remember, even if we all share the “writer crazy”– we still aren’t all the same. What works for me, may not work for you, and vice versa. Remember, NaNoWriMo is about writing, not editing. So, no critics allowed. Just muses and writers. Find the group that motivates your writing. The group you feel good about encouraging.
Then go write.
One bit of repeat here — NO EDITING. Save editing until next year. Literally, next year. November is for writing. Write with abandon. Write hard. Write.
And, when you cross the 50K mark? Come back here, to the comments, and crow about it! Shout it from a rooftop. Tell strangers. A lovely writer friend of mine put the period to the sentence where she crossed 50K and then stood on her chair, waved her arms like wings and sang like an angel. The whole room cheered and applauded. We were in a Barnes & Noble at the time. It was hysterical, it was beautiful, it was glorious. She deserved glorious. So will you. Because you will have earned it, and no one can ever take it away from you. Go. Write. I’ll meet you back here in November.
That’s right, P. N. Elrod the multi-talented author of The Vampire Files urban fantasy series (among many other books and genres) is offering critiques.
This isn’t something she does lightly, and this is a rare opportunity to have a sample of your writing critiqued by a pro.
Elrod is offering critiques to help pay the bills for her miracle dog Fuzzy; that’s Fuzzy in the picture. Fuzzy’s medical bills are in the triple digits. P. N. Elrod is offering critiques to help pay them down.
Here are P. N. Elrod’s terms for a critique. They’re reasonable, and yes, affordable for even the frugal. She’s also put up some items—Doctor Who Goodies, and original cover art painting—for sale in P. N. Elrod’s Garage Sale (scroll all the way to the bottom to read Fuzzy’s story).
Even if it’s not for you, if you have writerly friends who might benefit from the knowledge of a working writing professional, please spread the word!
Welcome, AWers! Are you looking for a terrific way to inspire your imagination and make writing fresh and fun again? This week’s guest post by Eldon Hughes offers a creative approach that’s worked for him, maybe it’ll give you a fresh path to follow, as well! — Mac
Guest Post by Eldon Hughes
Does it work? I hope so. C. H. Valentino and I have written two books, so far, this way.
It wasn’t planned that way. It was just a writing exercise that became a story and then grew a world of its own. But isn’t that how the best stories work?
“It’s like taking your imagination ice skating, or inviting someone else’s brain out on a playdate.”
Along the way we get exercise in active reading, active writing voice, scene setting and effective description from within the character’s points of view (because we want our partner to understand, without saying it out right, where we think the story might be going.)
So, here’s the premise. I’m going to ask you three questions, or maybe five, or maybe just one. I’m going to pull the questions “out of thin air.” They might be core character questions, or wild tangents:
You’re going to do the same thing for me. The answers are a kick off point for our new characters. There are NO wrong answers. How we answer, and how we choose to interpret and act on those answers is up to us.
Then pick a place in the world. It helps if we both have at least a little bit of familiarity with it, or quick fingers and an understanding of how to use an internet search engine like Google.
It also helps if we can literally be on the same page. And, we can. Google Drive (including Docs) is free for personal use, as well as for non-profits and schools. Sign up for a free Gmail account and you have Google Docs. (Along with a lot of other really cool free tools.)
One of us creates a document, uses the blue “Share” button (you’ll see it) to share that document with the other, by email address. We both open the document, and where ever we are online, we’re typing on the same page, at the same time. The game, dear writer, is afoot.
You write your character. I’ll write mine. Somewhere in the first couple of graphs they are going to meet, interact, conflict, compete, maybe even come together around a central theme. It’s up to us and our skill as writers.
Most of the same basic rules apply as in acting improvs:
One more thing? No quitting. Set a time limit or a word count as a goal and write until “the bell rings.” “Writers write, right?”
Eldon Hughes is a writer, storyteller and education technologist. His website is www.ifoundaknife.com.
Here’s wishing you all a very Merry Christmas, full of warmth and joy and blessings beyond counting.
Guest Post by Benjamin LeRoy
I’ve been a steady lurker on the Absolute Write forums since 2005. Every now and again I jump into a thread if I feel like there’s something I can contribute. Most of the time, though my impulse is to get involved when a new publishing company gets called to the carpet, I resist the urge. Because even though as a community we have a sense of wanting to correct people who are either intentionally deceitful or willfully ignorant, we know how they tend to respond, and we know it isn’t worth the effort.
Having started two independent publishing companies since 2000 (first Bleak House Books, then Tyrus Books in 2009), I’d like to think I’ve gained some perspective on what it means to run a small press in an ever changing publishing landscape. I also know that many of those lessons had to come through trial and error and that I couldn’t have understood where I was going wrong until I got there.
What’s the old saying? “It’s not what you don’t know that will kill you, it’s what you don’t know you don’t know.”
That. Or something like it.
One caveat that is frequently issued during the discussion of new publishers is, “Wait a year or two and see if they’re still around.”
Because anybody can get an idea to start a publishing company on Monday and hang a shingle on Tuesday, it’s important to understand that there are a lot of unqualified people claiming to be something they aren’t—at least aren’t in the way that an author needs them to be.
Many times when these new publishers are asked what they bring to the table, they make a half-hearted and ill-informed pronouncement that “New York publishing is broken. Big Six publishers don’t take chances on unknown authors. That’s why I started an independent publishing house!” A string of gibberish buzzwords usually follow. “We care about our authors,” etc.
There’s an effort to establish a war between the Big Six and Independent Publishers. (For clarity’s sake, I’m using “independent publisher” in its longer understood definition, and not as a synonym for an “indie author.”)
The problem with Fly By Night Publishing jumping into the fray of an imaginary war between the Big Six and Independent Publishers is that it, on some level, bunches all Independent Publishers together in some monolithic block. That there is some unifying agent among them. That the independent publisher that’s been around for decades is on near equal footing as the guy who started his company with no experience this morning.
Nothing could be further from the truth.
Getting into publishing requires very little. There are no tests to take. You can file incorporation papers for less than $100, put up a website for even less. Creating a viable publishing program that gets respect from the industry and the attention of readers is another matter entirely.
This is the story of how I got to where I am (and I am still a relative unknown in the greater scheme of the publishing world). It shows that for all of the nice talk about “dreams,” there has to be a lot of hard work, sacrifice, and luck to make dreams come true.
And when they do come true—it’s kinda awesome.
You have finished your novel and are attending a writers’ conference hoping to get an agent or editor to read your manuscript. You work your way through the crowd with your gaze focused at name-tag level. Suddenly you spot a gold-bordered tag reserved for editors. Heart pounding, you approach and introduce yourself and say you have just finished your novel.
The editor smiles and replies, “What’s your novel about?”
Suddenly the moment of truth is at hand. This woman knows why you’re here. The conference brochure described the reception as the place where writers could meet editors and agents.
Now’s your chance to convince this editor to ask you to send her your manuscript. So how do you answer her question?
Just as she had her question ready, you need to have your answer prepared. If you’re a savvy writer, you began working on your plot statement as soon as you signed up for the conference.
What’s a plot statement?
A plot statement is the hook you need to make your storyline sound like a winner so the editor asks to read the manuscript.
Just as she got right to the point in talking with you, she expects you to get right to the point by telling her what your novel is about. She doesn’t want a long rambling dissertation about the characters, background or details of who does what in the plot. She wants you to capture her interest by making the book sound too exciting to pass up.
Any book she recommends the publisher buy must be one she can convince others in the publishing house will sell. Publishers are in business to make money, and she hopes to find a winner among the writers at this conference.
Like a query letter, your plot statement is a selling tool. It’s time to forget all those great enthusiastic descriptions of your story you envision on the cover of your published novel.
Cover copy is written to entice the reader to buy the book. It tells exciting details of the story to entice the reader to want to read more. A plot statement is written to excite the editor enough to think the story will sell.
The editor at that conference wants to know if the book will sell and make money for the publishing company.
How do you tell what the story is about without telling the story?
Don’t think about the story, think about the original idea that developed into your plot. What about that idea made you decide it could become a novel? What excited you enough to spend months working on it?
The initial spark usually stirs your curiosity or an emotional reaction. You may want to know who, what, when, where or how such a thing might happen. You may wonder what would happen if one of the people involved took a different turn or made a different decision. The idea may have infuriated you, driven you to tears or scared you enough to check the locks on your doors and windows. In other words, it stirred an emotional reaction. Now your plot statement must do that to the editor.
A plot statement conveys the main storyline in a way that impacts the editor emotionally so she wants to read the manuscript. You write it after your novel is finished because you don’t know everything that happens until then. You need to look at the story as a whole in order to recognize the most important and emotionally charged highlights of the storyline.
The rules are easy, but don’t make the mistake of thinking you can toss off the plot statement for your novel in a few minutes. I have challenged numerous writers to do a plot statement, and none have succeeded quickly. Most needed a considerable amount of time and help. One writer sent an excellent one, along with the admission it had taken him three weeks and fifteen tries.
Once you do one well, it’s easier to repeat your success
One picture is worth a thousand words. The old adage holds true for plot statements. Paint a word picture that makes your listener form his own mental images that cause him to feel angry or sad or nervous.
Examples of this appear every day in our daily newspapers. Can you read an account of a nursing home fire in which four patients died without feeling sad or angry at the people or circumstances that led to the fire? Can you read a story about a child being abducted without heart-felt gratitude that your little boy is safe and sound asleep in his bed?
Our emotional responses to other people’s troubles develop out of our fears and concerns for our own and our family’s safety and well being.
This is true for editors just as it is for you and me. Editors react to the emotional appeal of plot statements.
Let’s look at a plot statement that worked and why it did. The example is a plot statement for a woman-in-jeopardy suspense novel:
“A recently widowed young mother brings her sick three-year-old home from nursery school during a devastating Southern California storm and discovers they are not alone in the house.”
I had chosen woman-in-jeopardy as the subgenre for the novel because it is one of the biggest sellers in the mystery and suspense field. Most readers and editors of these books are women. For those reasons, I aimed my plot statement at emotions women can relate to and understand.
A recently widowed young mother is a sympathetic, vulnerable heroine. Even if the editor hasn’t experienced those problems personally, she can’t help but feel sadness at this woman’s plight.
Then I add a sick child, something every parent and non-parent can relate to and worry about.
With the main character hitting these two emotional buttons, I add a setting that hits another one: “a devastating Southern California storm.” Newspapers and television have brought the horror of flooded homes and collapsing hillsides in California into living rooms across the nation. We shudder at the thought of the unpredictable destruction and losses or give earnest thanks that we don’t live in an area where they occur.
And finally I hint at the menace to come: she discovers they are not alone in the house. An unknown person invading her home plays on the fears of every woman.
Every story element included in the plot statement is an emotional trigger. Together, they create a dark mood of danger and suspense. And more important, they make the editor curious about how the story will evolve and work out.
I admit I didn’t come up with the plot statement on the first try. I didn’t count how many bad starts I had or how many refinements I made once I had a passable draft, but it took me several days to reach this one. The early ones suffered from my trying to tell too much, especially about the intruder. Eventually I realized that the less I told about him, the more sinister he became, and the more “fear” he roused.
The descriptive words in the statement also were chosen for the effect they helped produce. A “recently widowed young mother” has a “sick” child. The storm is “devastating.” These add to the dark mood that enhances a suspense novel.
This statement tells the basic storyline without any details of the action or characters. At the same time, it pushes three emotional buttons for the editor:
The editor knows these emotional triggers sell books, so she may be willing to read the manuscript to see if the story delivers on its promise. The plot statement did what it was supposed to do.
If you have finished your novel, start working on your plot statement now so you’ll be ready when that editor or agent you meet says, “What’s your novel about?”
Guest Post by Francesca StaAna
Wondering why your articles aren’t getting a lot of views or clicks? Stressing about the fact that you’re not getting enough repeat clients? You might be committing these deadly freelance writing mistakes:
Silence (Not following up) – Contrary to what some might think, just because a prospect doesn’t immediately respond to your first call or email, it doesn’t necessarily mean that they’re not interested. Yes, most of them probably don’t need your services, but there ARE some potential clients who are simply too busy to respond. This is especially true when it comes to sending emails. People are bombarded with emails on a daily basis, so you can’t really blame them if they overlook yours.
Always follow up. Don’t let fear, pride, or laziness stop you from doing it. Whether you’re cold-emailing a potential customer or reaching out to blogs to see if they’re willing to publish your guest post, make it a point to reach out in about a week or so after you’ve first made contact to see if they’re interested.
Ignorance (Not reading enough) – Reading should be a necessity for writers. Doing so on a regular basis allows you to appreciate the beauty of the written word, gives you inspiration, and more importantly, makes you a better writer. It opens you up to different styles of writing and helps you develop your own.
On a more pragmatic level, reading can give you new material to write about. Can’t think of anything new to jot down on your blog? Pick up a recent issue of an industry magazine and see what’s happening in the world. Check out the latest posts on your favorite websites and get different points of view on issues. I guarantee you’ll find something to write about.
Carelessness (Failing to catch typographical and grammatical errors) – Committing typos is unavoidable. Publishing them on the other hand, is a different story.
Typographical and grammatical errors are embarrassing at best, and misleading at worst. One misplaced letter or punctuation mark can shift the meaning of a statement, so make sure that you thoroughly proofread your writing especially when it’s supposed to go out to the public.
Have a second set of eyes read through your work before sending it in. If you’re on your own, step out of the room for a few minutes or do something else for a while then go back and re-read what you’ve written. Personally, I’ve found that changing the font and color of the text, as well as reading aloud makes proofreading so much easier.
Self-Absorption (Focusing on yourself rather than the audience) – Whether you’re pitching to clients or writing a blog post, always remember one thing: It’s about THEM, not you. Think about it. When you’re out on a date, wouldn’t you be turned off by someone who only talks about himself or herself without bothering to ask you about your life?
Similarly, one of the quickest ways to get readers to lose interest is by failing to answer the question, “What’s in it for me?” (Trust me, they’re all asking that question.)
Unoriginality (Failing to use your own unique voice) – One of the biggest mistakes that you can make as a writer (and as a person in general) is trying to be someone you’re not. While it’s perfectly acceptable to admire and be inspired by other people’s writing styles, it’s another thing to try and copy them. Instead, study the writing styles of others to develop your own unique flavor. You’ll be a much better writer and have more fun while you’re at it.
Also avoid using words or phrases that are not “you” in an effort to sound smart and important. In most cases, writing isn’t about sounding intelligent. It’s about getting your message across in the most effective way possible.
Close Mindedness (Refusing to try other things) – So you’re set in your ways. I get it. I can be the same way too. However, not going out there to try new things can seriously hinder your growth.
For instance, I know some writers who were reluctant to market using Pinterest because it was too “image based” and they assumed that it wouldn’t be an effective medium to promote their work. I paid no attention to those claims and tried it anyway. I used tools such as PicMonkey and Share As Image to make my words “pinnable”, and guess what? The Pinterest community took notice. My site got more clicks and I even got a few client calls because of it.
The takeaway? Don’t automatically turn your back on ideas or tools just because you’re not familiar with them. Keep an open mind at all times and try new things—even if you’re not used to them. After all, you never know how effective (or ineffective) something is until you try it out for yourself.
Social Aversion (Refusing to network or collaborate with others) – Don’t treat all your fellow writers as the competition. Instead, see them as teachers, peers, or even friends. Similar to being closed minded, not opening up your professional circle can stop you from growing and learning new things.
You can pick up a lot of new ideas and connections by attending conferences and networking mixers, so try to be present at these events whenever you can. If you’re more of an introvert, start by networking online. Comment on blogs and connect with people via social media
Are you guilty of any of these sins? Share your thoughts and stories in the comments below.
Francesca is the founder of Credible Copywriting and specializes in writing blog posts, web content and press releases for startups, Internet companies, and mobile app developers. She’s currently developing Copywriting 2.0, an online course that teaches aspiring copywriters the ins and outs of the biz. Sign up here and get notified when the course launches.
Guest Post by Lynn Alden Kendall
Writing speculative fiction—fantasy, alternate history, and science fiction—entails imagining a world as well as a story. Perhaps that’s why SF/F writers and readers attend conventions like FOGcon: to immerse themselves in the world of speculative fiction.
FOGcon is a book-oriented SF/F convention held every March at the Walnut Creek Marriott near San Francisco. Organized and run by writers and fans of SF/F, FOGcon is an intimate, not-for-profit event that offers members a weekend of readings, panel discussions, writers’ workshops, and opportunities to mingle. Each year we choose a different theme and invite guests whose writing exemplifies the best work on that topic.
This year’s convention runs from March 8 – 10, and the theme is Law, Order, and Crime. The Honored Guests are Terry Bisson, Susan R. Matthews, and the late Anthony Boucher. (That’s right; in addition to honoring living writers, we always have an Honored Ghost.) The con is always held the weekend of the second Sunday in March—time-change weekend.
FOGcon, now in its third year, has already earned a reputation as a fascinating event where creative people gather. Last year, acclaimed author Nalo Hopkinson led a workshop where people uncovered their cultural secrets by playing games. We have hosted writing exercises with an instructor, meetups for people of color and for people on social media, and an annual participatory group world-building exercise. There is also a dealers room where you can buy books, jewelry, art prints—even get a massage.
The San Francisco Bay Area has been a mecca for writers since the days of Mark Twain, and FOGcon draws on the rich local culture of SF/F writers. As a community-led, book-focused convention, FOGcon resembles a salon where you can meet and mingle with other writers at every level of achievement from beginner to Nebula winner. You can discuss craft with professionals and learn from fans what works for them and what doesn’t. If you’re a new writer, FOGcon is an ideal place for your first dip into the speculative fiction pool.
Come to FOGcon if you want to:
And those are just the official events—FOGcon offers plenty of informal fun as well, from spontaneous discussions (and plenty of free food) in the hospitality suite to karaoke, a game room, and meetups for people with special interests. Membership costs are less than a hundred dollars for the weekend, very low compared to commercial conventions. Moreover, our hotel offers free parking, a swimming pool, a good restaurant, a newly upgraded fitness center, and a free shuttle to downtown Walnut Creek, all for a superb convention rate.
Walnut Creek, east of San Francisco, is a charming small city distinguished by its superb restaurants (from cafes to sushi to four-star dining), excellent shopping, and a convenient location. If you’re interested in exploring wild California, Mount Diablo is just a few minutes away by car. A convenient commuter train just 10 minutes’ walk from the hotel can take you into San Francisco, one of the world’s most beautiful cities and an international center for food, arts, and culture.
Getting to the con is easy. You can drive to Walnut Creek—the hotel offers free parking—or fly into SFO or Oakland and take the BART train to Walnut Creek. (Yes, the hotel has a free shuttle from the Walnut Creek BART station.) Fly in on Thursday night and be part of the fun from the beginning.
Lynn Alden Kendall
The greatest thing in the world is the Alphabet
as all knowledge is contained therein
except the wisdom of putting it together
—from an old German bookplate