Waylines Magazine: New Market for SF Stories and Films

David Rees-Thomas was in my Clarion West class in 2011. He's a wonderful fellow - a sharp reader, a lovely poet, and a good friend. He's been a Managing Editor at Ideomancer for a while, and he's decided to start his own magazine along with Darryl Knickrehm, whom I do not know but who has stellar design skills.

The new magazine is called Waylines: Speculative Fiction and Film. They're looking for submissions of short stories and short films. Their website is professional and easy to navigate, and they will pay $40 per story. It's a great market, and I'm looking forward to reading the first issue. 

There's also a Kickstarter project, where you can get very cool postcards and such along with issues of the magazine. 

Here's their Kickstarter video. It's short (under 3 minutes) and is really well-done. 

I'm going to back this project on Kickstarter because as a writer I want to support great new venues for the fiction I love to read and write. And I know this is going to be a wonderful magazine.

Here's a quick peek at their Kickstarter progress, in case you'd like to contribute, too.

MFA Flashback: Visiting Writers

J.T. Dutton and Me, 2010, Photo by UAF staff photographer

One of the best experiences during my time as an MFA student was the visiting writer series that my department sponsored. Even though we were in Alaska, my program brought amazingly talented and accomplished writers up to visit.

The visiting writer would give a lecture on Thursday afternoons about their craft interests and areas of expertise. These lectures were open only to MFA students and English faculty, so they were cozy affairs where you really got to  know the writer and ask questions. And the writer had time to respond to those questions slowly and with care. It was almost like taking a seminar class with the visiting writer.

On Friday evenings the writers gave a public reading open to the entire campus and community, followed by a book signing where the local bookstore provided copies for sale.

But there's another element of the visiting writer that takes place earlier in the week, around Wednesday or Thursday.

Second and Third year MFA students have the opportunity to participate in a one on one manuscript discussion with a visiting writer. The visiting writer only meets with a few students (there isn't much time for more), and there are usually around six visiting writers each year. So meeting with a visiting writer is a once in an MFA experience for most of the grad students in my program.

My thesis advisor asked me if I'd like to meet with YA author J.T. Dutton, and I was ecstatic at the chance. I emailed her around twenty pages of the novella I'd been working on, and wrote the date for our appointment in my calendar.

I was terrified of meeting Dutton. I was afraid she'd throw my manuscript in my face and tell me I was a horrible writer and that I shouldn't have wasted her time with my silly story.

Instead, she gave me one of the best critique sessions I've ever received. She went over some language and pacing edits with me that snapped the opening of my story to life. It was amazing to watch my story wake up from my lumbering prose just by a few scratch marks through extra words, a few arrows to rearrange sentences in the paragraphs.

Next we moved onto larger discussions about story, and about writing YA. It was the first time I had met someone who wrote YA fiction. So many of my favorite books are considered YA, but for some reason I had never entertained the idea of writing YA as something that MFA graduates did. But J.T. Dutton's novel Freaked was based on her MFA thesis at UAF. I think I had a prejudice that YA fiction couldn't be serious, and that only serious writing mattered.

At the reading on Friday night, J.T. read a passage from the end of her novel, and it is a reading that both my partner and I remember to this day as being an amazing experience. It was a beautiful passage about being at a Grateful Dead concert and the feeling of being in the crowd.

Freaked and Stranded by J.T. Dutton

J.T. told me something important during my one-on-one critique session. "This is a novel," she told me. "A YA novel."

That story is still with me, and I haven't written it into a novel just yet. But I know that I can, and that it can be as sad and serious as I want and still be a beautiful YA novel. And it can also be funny and geeky and talk about Star Trek, and those aspects might even make it a much better story.

Big Ideas and Permissions

“Writing a novel is like driving a car at night. 

 You can only see as far as your headlights, 

but you can make the whole trip that way.” 

- E. L. Doctorow

I'm slowly growing more comfortable with the idea of stepping into a novel without a detailed outline. I've tried making an outline using the feminine journey in the back of 45 Master Characters, but I always get hung up. Why? Because I haven't spent enough time with my characters and their story to know who they are.

I've got three novel ideas, and I keep switching back and forth between them, unable to commit to pursuing just one. NaNoWriMo is about to start, and the days between me and the 10,000 word goal by November 15th are steadily disappearing. I'm kind of in novel freak out mode.

I have two wonderful writing friends to thank for pulling me out of my pre-novel funk.

Alisa Alering sent me a wonderful article by Bruce Holland Rogers about deciding on your Big Picture: why you are writing this novel. Each of my novel ideas has a different practical and creative purpose in my writerly big picture. One is a YA, one is literary/ experimental, one has a good feeling of forward motion. The YA would be writing for a great audience that I am eager to connect with, and would give me the satisfaction of finishing a story that I've been writing on and off for years. The literary one might never see the light of day, but it would give me the opportunity to unlock some stories and language I've been keeping stowed away. And the one with a good feeling of forward motion feels like one I could finish, that would prove to myself that I can write a novel, and would have enough of a structure to not melt into disparate parts after draft zero is done.

So what is most important to me in this first novel attempt?

My guideposts

With these in mind, my choice of which novel to write is much easier. I'm going to write the one with the sense of forward momentum, the short story idea my thesis advisor asked me about three years after it was workshopped in her class, about a body-modified raven and a lost girl searching for something that others are trying to hide.

The second writer push that happened this week was that Ashley Cowger gave me permission to write a crappy first draft. I'm constantly trying to persuade myself that it is ok to just write, get that first draft on paper, because I know I'm going to revise the story twenty or more times before I ever submit it anywhere. But the impact of having an accomplished writer whose work ethic and creative work I deeply admire tell me that it's ok to just follow the story where it wants to go the first time through is amazing. I really feel like a giant weight has been lifted off of my chest.

After all, one of my guideposts is to prove to myself that I can write a novel. It doesn't have to be the best novel in the world on the first draft, but it does need to be done. And if I'm not judging my writing every step of the way, then done is a goal I can accomplish.

So I'm going to pass this writing gift on to you, one day before the start of NaNoWriMo, in the almost November time when everyone's itching to write a long story.

It's okay to write a crappy first draft. 

I'm going to do it. Lots of writers do it. 

You have our permission. 

Now start writing. 

Using Pinterest as a Writing Resource

My mom got me hooked on Pinterest.

We were at the local craft show two years ago, and my mom said she had seen some of the ideas for monogrammed gigamabobs online. "You aren't on Pinterest? I'll send you an invite."

At first I was only friends with some family members and the random people that Pinterest automatically selects for you when you first sign up. But then I started following some of my writing friends, and even my favorite literature professor from my undergraduate days. And now it's a story brainstorming activity that I spend about 15 minutes a day doing. It's relaxing, and continuously inspiring. I have more story ideas than I could ever write, and I find more every day.

How Pinterest works is this:

Your homepage is an all visual bulletin board that's constantly changing. You can click a little button at the top of each post to pin the image to your own board. You create boards to keep your pins organized.

If you see an image you love and repin it, you can start following that person's pins. It's like making your way through a labyrinth, constructing it around you as you go.

How I organize my boards:

I have two different strategies for brainstorming on Pinterest.

The first is for character and setting ideas. A lot of the boards I subscribe to are art and travel that have the kind of feel that draws me in - funky, off, lovely. Usually these images spark a story in my mind.

I'm not worried about pinning them publicly, or sharing them here. I think everyone is inspired by images in a way that is specific to who they are. Let's say we both wrote a story based on this image:

Source: Uploaded by user via Jenni on Pinterest

I think that little girl's next step would be in two totally different directions.

So by compiling an idea box, I feel like the general well of ideas is never empty. I still get ideas from other places - cool documentaries on PBS, links sent to me by friends, strange dreams. But I like having this little alcove of images to keep my sense of story working.

One of the exercises young writers are given is to go to a public place and observe others. I used to do this often in college, and I'm still prone to stare a second longer or listen a bit longer than I probably should, but now that I'm working I spend most of my time alone in an office or at home with my cats. So I practice eavesdropping on images while I unwind from a long day.

The second way I use Pinterest is to brainstorm for a current work in progress. I have a dedicated Pinterest board for my current novel project, A Thousand Tangled Thoughts. Some of the pins on this board are research-based, while others evoke a certain mood I want to convey through the story. Most of these images I've found outside of Pinterest via Google image search or have happened upon while doing research. I added the Pin It bookmark to my browser's bookmarks toolbar, and whenever I find an image that goes with my book I click on it and it adds the image to my Pinterest board.

Sure, I've got the obligatory tasty foods and geeky stuff boards, but those are mainly to keep the occasional Batgirl fan art or recipe for raspberry cordial that pops into my feed. But I've focused my subscription feeds over the past year so that the images that show on my page are mostly story inspiration.

It's like watching a secret camera feed of a bunch of people's dreams, but they're all cool people who like misty landscapes and girls in quirky-beautiful clothes. And unlike dreams, these images are captured clearly, so I can use them for inspiration whenever the story is ready to be told.

Con*Stellation XXXI: Perseus

This year I dove into Con*Stellation, spending more than twenty hours there over the course of the weekend. I went to many panels, attended the art auction, nibbled on cashews at the Friday night reception, and hung out in the dealer's room with my fellow Trek club friend Laura.  Here are my favorite moments from Con*Stellation XXXI: Perseus!

Friday

The Science Fiction Writers and Cake Appreciation Society Reading

First up on Friday was the reading by members of the Science Fiction Writers and Cake Appreciation Society. Last year one of the stories was bought by an editor of a pro magazine.

This year was my first time taking part in the reading. I read snippets from "Sister Winter," my week 6 Clarion West story. I was afraid that reading short snippets from a long piece, instead of an entire really short piece, would work badly, but a few of the other writers told me afterwards that they had really enjoyed my story. So I was really glad I had decided to read that one. 

The organizer of my local sf writing group is Lin Cochran, who is also a Clarion West alum.(She attended the first two Clarion Wests - so cool!) She read her story that appears in the recent anthology of Alabama authors, Summer Gothic, and it was lovely.

Lin Cochran reading from Summer Gothic

Louise Herring-Jones read a witty and hilarious excerpt of "slug porn" that has me wanting to try some humor writing. It worked so well as a piece to read aloud to a group. She's also a wonderful convention friend - waving you to sit up front with her at panels and making sure you've met everyone in the conversation circle. Louise had some extra copies of Mirror Shards 2 on hand, so I bought one from her to get a better feel for what sf anthologies feel like. I think I'll make it one of my writing goals this year to submit to a themed anthology. 

Panel: "Non-Traditional Routes to Publication"

Late on Friday evening I went to a panel on self-publishing. A lot of the conversation centered on e-publishing, including perils and format limitations. Images seem to be especially tricky, and are better left out unless printing a specialty coffee table book where people expect to pay higher prices. Createspace seems to be the go-to place for print self-publishing.

Two of the panelists were L.R. Barrett-Durham and Grady Glover, authors of the Fear and Trust series. They are two of the nicest people I've ever met, and were always ready to hang out and talk about writing and how to publicize your work. But the biggest tip they had to give me wasn't anything they said - it was about how to be really friendly to (sometimes shy) strangers.

L.R. Barrett and Grady Glover
Photograph by Laura of SF Collectibles

Saturday

Filk Concert: Cat Faber

Cat Faber

On Saturday I went to a mid-day filk concert by Cat Faber. She has such a wonderful stage presence, and I loved listening to her songs. I wish the concert could have been outside; her lyrics are the kind that make me want to stare up into leaf canopies and daydream.

My favorite songs she performed were "If the Last Spaceship Leaves On Time" and one about a mouse finding a giant chocolate bar and pretending to be magnanimous when he offers the leftover almonds to his friends (after having consumed the entire chocolate bar by himself).

Usually music doesn't make me think of story writing. Literary readings help dredge up solutions to my story problems, but music mostly helps me block out background noise. But Cat's songs had me spinning fantasy yarns in my head from the start. I think I might try listening to her CD when I have writer's block to transition into the feeling of storytelling.

Filk Concert: Marc Gunn - Firefly Drinking Songs

Marc performed several awesome Firefly inspired songs, and it was easy to see that he's a real fan of the show. My favorite song was "Freedom Costs", an anthem for the independence fighters.

All of the songs he performed were amazing, lilty and soulful at the same time. He took the time to speak out the chorus with the audience before the sing-a-longs, encouraging us to join in.

Con*Stellation is a very intimate con, so taking pictures or videos of people on a panel feels like walking up to someone and taking a picture in their face. But there are tons of good fan videos of Marc performing at DragonCon on Youtube, so check him out.

Sunday

Autograph Session

I almost didn't go back to Con*Stellation on Friday, but I'm very glad I did. I had spent around ten hours on Friday and Saturday at the convention, and by Sunday morning I was really tired. But I drank some coffee and that made me feel more like heading out.

When I arrived at the con everyone in the lobby was gathered around the television, watching Felix Baumgartner's dive to earth. When he landed, he knelt on the ground and everyone cheered. It was so cool to watch this moment surrounded by science fiction fans, writers, and NASA scientists. I hope there are more universal cheering moments in our near future.

Felix kneeling after his record jump

At the autograph session I got to sit down and talk with David B. Coe/ D.B. Jackson. That's one of the best things about a small con - there wasn't any huge table between us and a line behind me hurrying me up. I just sat across from him at a small two-person table.  I'm really excited about reading his new book, Thieftaker, and diving into his epic fantasy as well. 

Jackson was a really wonderful literary guest of honor, and was very warm and enthusiastic when I spoke with him for a few minutes after he signed my books. Somehow we wound up talking about Alaska, and a trip he had taken to Denali. 

I have lots of notes scribbled in my notebook from Jackson's panels, but one of my favorites is one I had heard from another person a while back, but hearing it this time it clicked.

One of the panels Jackson was on was an interview, and Eric Flint asked Jackson why he chose to write about Boston during this era. He answered that there is a parallel between the setting and the main character - the character is the embodiment of the city. It is something I'm going to keep in mind while I'm working on my novel. 

Con*Stellation XXI was a great con, and I'm so thankful it takes place in Huntsville. It gave me a great chance to reconnect with my local writing group and to also meet professional writers both in person and by introducing me to their work. I hope it lives on for many years to come. 

Con*Stellation Time Again!

Art by David O. Miller

This weekend is my local science fiction convention, Con*Stellation. I had a wonderful time last year at the 30th Anniversary con, and I'm looking forward to a great convention this year.

On Friday evening at 7:00PM the local writing group, the Science Fiction Writers and Cake Appreciation Society, will be reading stories in the lobby. There will, of course, also be cake.

I will be reading a short story. I am not yet nervous, but it is only Wednesday.

Staying Part of the Conversation

I like to listen to other people.

It's the kind of personality trait that's praised in books on making friends, corny quotes in email forwards, and in high school and undergrad might give the impression of sophistication.

When I was still in high school, I was invited to Capstone Scholar's Day at the University of Alabama. I had to spend a day on the campus taking part in various activities in order to secure a small scholarship.

One of these activities was a leadership test. They placed us in one of those classrooms with the stadium seating, broke us up into groups, and gave us a sheet of paper with a conceptual problem to solve. A panel of five or so people sat at the front of the room, watching us and making notes. Two people in my group decided they would do anything to be seen as the leader. One snatched up the piece of paper and started reading it aloud to the rest of us, the other gestured and talked loudly, restating the other person's points. At first I tried to be part of the conversation, but the charade of it all felt so gross to me. I eventually sat back in my chair and gave up. If that's what it took to win an extra few hundred dollars for a leadership scholarship, they could have it.

This experience and others like it made me hate group work for years. When I first became a teacher, I vowed I would never make my students do group work. But my teaching mentor, Sarah, convinced me otherwise.

"When it comes down to it, we're all on this planet together."

That moment changed many things for me. I gave my students group projects and saw how they benefited from the exchange of ideas and feedback. I tried to reach out more to my fellow MFAers, and I made some amazing friends.

It's the reason I sought out the type of bellydancing that is only truly alive when performed in a group.

But it's still hard for me to be part of verbal conversations that include more than one person. There's that pulling for the sheet of paper, for control. I listen. The points go to the person who has made the most noise.

Writing is my way of speaking without having to elbow someone else out of the way. I want to be part of the conversation, but I'd prefer if it's just you and me talking together instead of a crowd.

This long ramble started with me thinking about two rejections I've gotten this week, both asking to see more of my work in the future. "Please keep us in mind."

These types of rejections fuel me. Especially when the letters mention aspects of my story that have spoken to the editor.

Even when I'm getting rejections, I'm still part of the writing conversation. I'm growing my voice, word by word, so that I can speak through my stories. I want to make friends with a reader, maybe someone kind of like me.

They'll hold the sheet of paper, but they'll also listen.