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Overview: Fire in Fiction Workshop

I am back in Iowa in time for spring break. Yesterday I spent the majority of the day cutting out a purple velvet dress and sewing it. Bastet loved getting to lounge on all the soft fabric. I am a bit out of practice. My formerly calloused thumbs actually hurt from all the pin shoving, which means I could use some thimbles.

Today I’m in town buying a zipper for the dress, which I will return to tomorrow. I’m also doing a variety of exciting activities, such as getting the oil changed in the car and picking up medicine. Going protesting tonight as well–since I’m in a reconciling congregation, we figured we would protest against the former candidate for governor in the state who campaigned largely on the one man-one woman marriage platform.

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That’s how my day’s shaping up. Maybe you’d like to know a bit about the Fire in Fiction workshop?

I don’t know how many of you realize my MA is in business and technical writing. I started out as a creative writing major, completed the majority of the classes I needed in a year, and was seduced away by a bunch of really bright and interesting professors who had a major that looked like it would lead to employment. It is actually through this MA that I ended up at Kirkwood, because we had a tech writing degree for a short time.

Technical writing is relevant here. So far, I have been in workshops of two types. The first type, most of the writers groups and Viable Paradise, are for authors by authors. These groups focus on improving your work. The people in them also have work that they want to improve, and you help them. This is a good approach. Writers, both your peers, and more experienced writers and editors, can help you improve your work markedly through their own publishing experiences.

The Maass workshop, on the other hand, reminded me of when I sat down with a client during the tech writing years. When preparing a technical piece, the writer would ask the client specifically what they hoped the document would do. What were the special requirements? What were the conventions and expectations of the parent organization? Maass was essentially breaking down into components what editors had asked him for, backed up by knowledge of what he knows sells well. He discussed how to create page turners, how to create micro-tension, how to work with voice. I felt like I received three days of instruction about the conventions of the publishing industry.

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VP Profile #9: Bo Balder

Writer Bo Balder traveled a long way to participate in Viable Paradise XIII, bringing with her a sunny disposition, a hilarious satyr story, and a background in fan fiction. Checking in with her now, she’s developing her writing career in her native country, where her first story was published last year.

Tamago: When did you first start writing?  Why did you decide to write?

Bo: I think it was in the first year of secondary school. I’d always made up stories in my head and turned them into play scenarios with the other kids, I’d drawn maps and genealogies. But when I got an A for a composition we had to write about our pets, and I chose a dragon, that kind of sealed it.

Tamago: What was your first writing project?

Bo: It was a novel about space travelers landing on a mysterious planet ( I was twelve). I still might write that some day, but I got pretty much stuck after the first two chapters…I was still describing how everyone looked and hadn’t gotten round to plot yet.

Tamago: Why did you decide to start writing in English?

Bo: That’s jumping a head a couple of decades…I’d taken a three month sabbatical to decide whether I would become a full time painter ( artist) or not. I didn’t paint, those three months. Instead, I started writing fanfic. Which happened to be in English! There wasn’t much of a decision process. I thought, after reading a Buffy/Spike fanfic, I can do that too. In fact, I can do that better ( I hadn’t read any of the really good people yet, if you think that’s hubris). And so I did. The fanfic world has people called betas, who don’t write but are willing to edit. They really helped me get off the ground, because I started with the writing skills of an 18-year old, I hadn’t written for so long.

Tamago: What are the differences between writing in your first language, Dutch, and a language that you’ve learned?

Bo: There really aren’t that many differences. Writing is writing, for me. I see a Technicolor Surround sound, fully scented picture in my head and I write it down. So it’s a translation anyway, from the movie in my head to the paper. Of course it’s harder to write well in English, but there have always been nice people willing to help me with tenses and stuff – that’s the hardest. Not so much finding the words.

English writing, in my mind, can take richer, more elaborate language. The Dutch are so down-to-earth, I really have to tone it down when I write in Dutch. Or maybe my ear for language isn’t as critical as it is in my native Dutch. Or my inner critic is less stroppy in English…

Tamago: Recently you’ve had a story included in an anthology, Satyricon.  Do you feel your Viable Paradise workshopping experience changed that story in anyway?

Bo: It changed my view of that story. I saw where I needed to make changes to make it work better. I hadn’t given my hero the right impossible choice, and John Scalzi gave me some invaluable hints how a guy would reaction if his chemical castration would be lifted….Strangely enough, the editor of the anthology preferred the first version, and since he was boss…I let him have it.

Tamago: What project are you working on right now?  Can you describe it a bit?

Bo: I’m working on a YA novel set in the Netherlands, written in Dutch. It’s about a girl who’s a child of a Valkyrie and a Djinn, discovering her dual heritage while she tries to save her father from imprisonment in Asgard. She succeeds, but then discovers he was imprisoned for a reason, and she’s made things worse…

Tamago: Do you consider yourself any specific type of writer (as in horror?  SF?  urban fantasy?)  Why?

Bo: Hm, that’s a difficult one. I’ve written soft sf, urban fantasy and a sort of mix between high fantasy and sf. And steampunk! Russian steampunk. One of my fave books so far. I think I will never ever write hard sf, high fantasy or horror. I don’t have the technical knowledge for hard sf, I don’t like castles and princesses, and I often have some horror ( or horrific) elements in my stories, but I can’t imagine ever doing straight-up horror. Thin lines, anyway. And never say never…

Tamago: I know you have a background in fan fiction.  Do you feel fan fiction has influenced your writing in any way?  What is your favorite fandom to write in?

Bo: I’ve only ever written Buffy the Vampire Slayer fanfic. It was a wonderful playground to be in, a ready-made appreciative audience with no layers between the writer and the public – instant publication, and their judgment, free of economics, whether they liked you or not. It made me free to try out my wings and be outrageous.

The drawback is that you play in someone else’s playground, with a lot of world building and characterization already done. I had to relearn a lot of skills when I left the fanfic world, skills I didn’t even realize I was missing. There’s so much theme built into BtVS, so much resonance, and it took hard work to be able to play with that again in my original work.

Also in fanfic you’re supposed to cram in the pop culture references, and riff off them. In regular fic, I’ve had critters get mad because you’ve used an actual product name. So yeah, the cultures, the dos and don’ts are very different. I think it’s easier to dip into the fanfic world if you come from original writing, than the other way around.

Tamago: Where do you hope to be 10 years into your writing career?

Bo: I hope to have published novels in the Netherlands as well as in the English world, through translation or directly. I love writing books and stories, and I want people to read them! I’ve got several novels written, wouldn’t it be a waste to have them moulder on my hard drive?

Tamago: If you could have dinner with any writer that you’ve admired, who would it be and why?

Bo: I think Ursula LeGuin. She was one of the first writers I discovered in my teens, in our SF-poor small town library, and I’ve always stuck with her, except maybe a bit in the 80-ies. She’s so sensitive to the role of the Other in every kind of society, she writes with such delicacy and transparency. I can still reread her books without any loss of enjoyment, which isn’t always true for other writers from my youth.

Tamago: What advice would you give to other writers based on your experiences?

Bo: Nothing earth-shattering. Just write what you like, and write a lot. And read what you like, and read a lot. Find people to share with, otherwise it’s a pretty lonely vocation.

News from Japan

I haven’t heard from many of my Japanese friends yet, and of course I can imagine that their first priority is not to get on the Internet and let me know they are safe. The ones I am most concerned about are the ones in the Tokyo area.

For those who are interested, however, I have heard from Mr. Iwahara. He is safe. However, the college he works for, the JIKEI group, have sustained massive losses in Sendai. He will write more later.

It’s a long shot, because I’m sure none of my former students or my friends read Writer Tamago. But if you’re out there, get in touch with me and assure me that you’re well. I am concerned.

Catherine

Wisconsin, Ohio, and Beyond

*shakes head*

But was it legal?

Michael Moore’s interview with Rachel Maddow yesterday.

Jay Lake sends along this post from Keith Olberman.

And Steve Buchheit gives us a report from on the ground in Ohio about Senate Bill 5.

Bryon and I are looking forward to having our right to negotiate health insurance and lay off rights stripped away as well. Gronstal can only stem so many tides.

Catherine

I, Claudius: Studies in Villainy

Bryon and I waited a long time to get I, Claudius sent to us via Netflix. A costuming buddy had recommended it years ago, and I put it in my queue. I expected something fairly melodramatic and cheesy, along the lines of Upstairs, Downstairs or The Forsythe Saga.

Instead, I’ve received bloody Roman empire, literally. I also am seeing amazing acting out of the likes of Derek Jacobi, Sian Phillips, Patrick Stewart, and John Hurt, just to drop the names of a few luminaries. Bryon and I have just started reading Claudius to each other in the car, and we’ll follow up with Claudius the God.

There’s a lot that makes Claudius good. I root for the clueless underdog, Claudius, watching him balance ethics and self-preservation tenuously. I am appalled at some of the things this family does to their relatives. But, and writers in the room should perk up their ears, what chiefly recommends Claudius are its villains.

And the villains are good enough that each deserves their own discussion. So, over the course of a few entries, I’ll be analyzing Livia, Tiberius, Sejanus, and Caligula. Each of them represents a very different kind of representation of the antagonist, and each is portrayed with vulnerability and sensitivity, as well as delusion and self-deception.

After I get back from Madison this weekend (and I will tell you the highlights of the Maass workshop), I’ll start in with an analysis of Livia. Poison will be queen!

Catherine

VP Profile #8: Julia Rios

Everyone welcome Julia Rios, fellow Fighting XIII’er and fashionista.

Tamago: When did you discover you wanted to be a writer? How long have you been writing?

Julia; I’ve always loved making up stories and hearing stories. My brother started learning to read when I was about 2, and I remember watching him and working out that words on the page meant something. I knew right away that I needed to understand how that worked, but it was a few years before I was really reading and writing on my own (I wasn’t an amazing child prodigy like some others I know–none of this “I was reading the Wall Street Journal at age 3” stuff for me). As soon as I learned, I started writing stories, though, and even my earliest efforts were clearly speculative. I have some stories I wrote when I was 9, and they’re all about ghosts and magic and things like that.

Tamago: How would you characterize the kinds of stories you write?

Julia: Other writers, editors, friends, and family members love to ask this question, and I inevitably respond by gaping and flailing like a fish out of water. I don’t really know. I guess I tend toward weird additions to contemporary realism? That sounds mighty pretentious, doesn’t it?

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Wiscon Programming and Reading

Who knew that the deadline for reading groups was this Thursday? Not me. I just wasn’t paying attention.

Unless anyone I know would like to include me as a fourth for bridge, I’m probably going to sit this one out. I have things I can read, but I find myself remarkably unambitious in organizing a group. That’s okay. We’ll let the other young ladies exhibit (Mr. Bennet from Pride and Prejudice).

Catherine

Michael Moore and Wisconsin

Today is a big rally at the Iowa State House. Given my recent flu, I will be teaching today. I can’t neglect my students after neglecting them most of last week.

To show my solidarity, however, here’s Michael Moore doing the supportive thing in Wisconsin, our neighbors to the north. Also, the transcript of an email he sent around.

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Digging Deep, or Writing Under Glass

Thanks to Jon Gibb’s Weekly Round-up of writing links:

What are you afraid of? by Donald Maass

Brent Bowen gives you permission to suck. So do Ira Glass and Brandon Sanderson. Just scroll on down and see.

Con or Bust Auction ends Sunday. Support scholarships for PoCs to go to SF/F cons of their choice.

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Right now I’m working on Substance of Shadows, the substantial re-write. I spent about a month plotting the Klarion sagas, and I’m in book 3 for the time being. I’m doing my usual thing–shifting scenes, thinking about POV, slashing and sharpening language, but this time, I’m going beyond these things.

I’m going to dig deep.

To understand what I’m talking about, let’s talk about The Were-humans and the Vegas Retreat.

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