That’s what it’s like

I really love this short documentary. It’s about writing a novel getting a degree building a marriage building yourself painting signs.

Once the video has started, I recommend double-clicking the image to bring the video into full screen mode. Or you can find it in full-screen mode directly at Vimeo.
 
Enjoy.
 

UP THERE from Jon on Vimeo.

Write-a-thon running total: 2,381 words out of 12,000. Today was about making what was already on the page deeper, rather than moving into another scene. So much of beginning is setting the anchors in place for the important emotional arcs that will play out in the book. And so this deepening I’m doing will, I hope, bring more resonance to some of the key moments to come.

And tomorrow we will meet an Important Character! Someone who will change my protagonist’s life. I’m excited about it. I always like it when the players come together onstage.

22

Nicola and I met at the Clarion Writers Workshop 22 years ago today.

Our friend Mark, also a Clarion ’88 alum, has posted some of his workshop memories along with photos — one that shows a workshop session in progress, with me waving my hands and looking serious and so young. Another photo shows all of us dressed like idiots for the traditional Locus photo. Nicola, however, manages to make idiotic look powerful and fascinating instead, so there you go. 22 years later, she still fascinates me and protects me and empowers me to be the best that I can. We love each other.

Thanks to Mark for the memories. And thanks to Nicola for the years, this life together that I love.

Write-a-thon running total: 1,850 words out of 12,000. Still swapping words, deleting as many as I write for a net gain that looks small but actually represents a process of seeing that is essential for me at this stage… It’s as if I am circling, circling, handling the story from every angle, trying to find the way in that will open it up most deeply. I’m now at the point of making notes within the text as openings appear: for example, what I thought was a throwaway line is actually an opportunity to introduce one of the important characters, and so it needs to be its own scene. Tomorrow.

Some of these openings won’t lead anywhere productive. And then it’s more sentences off to word heaven, or wherever they go when I delete them. That’s writing. More work, more work, but the lovely thing about being 22 years on from Clarion is that I know how to do it.

What are the odds…

The Newspaper Guy makes the free throw!
 

 
Write-a-thon running total: 1,671 words out of 12,000. A lot of deleting and new writing in the last two days. Still finding “the beginning,” which is more than just “the first scene.” I need to introduce the protagonist, give a sense of her immediate situation, start to build her world…. The initial scenes of a book are vital in this regard. What do I want the reader to know first? What are the important metaphors, and what moments will best establish them so that I can return to them throughout the story? Where’s the energy of the book coming from/going toward, and how do I plug the reader smoothly and deeply into that stream? Always an interesting part of the process.

Story of my mother

I have lots of stories of my mom. But this one is pretty special… Michael Swanwick has Tuckerized my momma. No, it’s not like that, all you people with your minds in the gutter. It’s Michael’s personalized flash fiction in support of the Clarion West Write-a-thon. I ponied up $10 to the cause, gave him a few salient facts about my mother, and poof, he made a story that has left me slightly weepy and in search of a kleenex.

Isn’t it amazing, the things people do? The seemingly endless, inventive ways we find to please each other and ourselves, to help each other and ourselves?

——

Write-a-thon running total: 1,310 words out of 12,000.

I can haz kindlebook!

The Kindle version of Dangerous Space is now available.

For those who may be new here, Dangerous Space is my short fiction collection that includes a winner of the Astraea Award, two Nebula finalists, three Tiptree Honor List stories, a story adapted for television, and story collected in The Year’s Best Fantasy and Horror. You can read three of the stories here: “Dangerous Space,” “Strings,” and “And Salome Danced.”

I’m very proud of my short work. I hope you enjoy it.

Publishing questions

From a reader through talk to me:

Are there any concerns involved in posting one’s writing works on a blog? For example, would publishers be less inclined to pay if a work, say a short story, or a novel draft, was already publicly available on the internet? What about after you get published, what control do you have over how you may distribute your writing outside of your publisher? What other rights issues are involved? I figured you might be able to answer me since you’ve posted some of both your published and unpublished work on this site.

Thank you! I am a great admirer of your work.


And thank you for your patience!

The answer is, maybe. It depends. (Don’t you hate that kind of answer?) If you’ve published an entire novel on your website and have had very few visitors, most print publishers won’t see that as a threat to their market: but they may wonder if there is a market for your book at all. If you have thousands of visitors, the publisher may assume you’ve already reached your audience — but clearly there is an audience for your book, and perhaps that audience can be expanded either for this book, or your next one.

Short stories are more problematic. If I had posted a short story on my website before publishing it in a professional market (online or print), I would make certain the editor knew it: and I think the editor might regard the story as “used” rather than “new,” But again, it depends on the individual editor, the overall market, and what kind of traffic you get.

I can’t speak for publishers or editors. I can only speak from my perspective. But I can also call upon Great and Powerful Resources for you (grin): here’s a blog post on this topic from Moonrat at Editorial Ass, who is an actual Publishing Person and has informed opinions. Make sure to read the comment conversation as well for more discussion. (And follow her blog: she’ll give you lots of insight into publishing and editing).

As far as rights after publication, that depends entirely on your contract for the story or novel. The publisher will generally take exclusive rights for first print publication in some form (English/North America; world English; first serial rights for short fiction; etc.) During that time, you may not publish the work in its entirety with anyone else, although generally everyone agrees that it’s a good thing to post a sample chapter or a story on your website, or the publisher’s website, and to possibly serialize the first bits of the book to bring readers in.

When you sell a short story to an online or print magazine, you generally sell one-time rights. When you sell to an anthology, you generally sell world rights and hope the anthology will be translated into a zillion languages. In all cases, after the story has been out a certain amount of time, you will have the right to re-sell it to other markets (reprint rights). And the right to post it on your own website, as many writers do.

The publisher will always take some form of electronic rights and you will get them back when hell freezes over.

I never publish sold work on my website without either having the rights myself or negotiating clearly with the publisher (as in the case of my stories that appear both in Dangerous Space and on this site). The only time I publish unsold work here is when I’ve decided that it is unsaleable. That may change as the overall publishing model changes, but for now it’s how I work.

A lot of writers blog work-in-progress because they just can’t wait for readers; just can’t wait for people to see their work. But unless the writer is an established writer posting work-in-progress for a specific reason (writers do this to raise money for themselves or others, for example), then I don’t see a lot of point. Posting work without a) an audience already in place, and b) a skilled hand at the writing wheel, seems to me to be wholly driven by impatience: I can’t wait, I want people to love my work right now!

I get what that feels like. I am sometimes so impatient this way that I think my head will explode. But writing doesn’t get better just because it’s in public. It’s either good enough, or it isn’t. If your goal is to see your name on a story online, or a print book, then self-publish it. If your goal is to be professionally published (as it is still currently defined, although we all know it’s becoming a moving target), then do what pros do: keep your work to yourself until it’s really ready, and then go out and sell it.

That’s my two cents. To the reader who sent this question, let me know if I’ve answered it fully for you. To everyone else: mileage varies enormously in this area, and different opinions are welcome in the conversation.

Small Beer Press will reprint Solitaire

I am happy-dancing thrilled that Small Beer Press will publish a reprint edition of Solitaire early next year.

Those who know Small Beer will understand why I’m so happy: Gavin Grant and Kelly Link have built a wonderful, writer-friendly business, a high-powered critical reputation, and a list of books for readers of all ages and persuasions whose common connection is a love of story. I’ve known them for a long time (sf isn’t a very big club, really), and have long wanted a chance to work with them. I’m honored by their support of Solitaire (which, for those who know the SB imprints, is coming out as a Small Beer book, not a Peapod Classic).

Want to know more? Check out Small Beer on Facebook and their most excellent blog.

So: a new edition, a new cover, and a new phase of life for Solitaire. I’m delighted. Tonight I’ll drink a large beer to Small Beer (grin): for now, I think I’ll go have another cup of tea.

Enjoy your day.

Sharing

Saw your Write-o-Rama post. Great talking to you and fun class. Thought I’d share the results of our class exercise.


Thank you for sharing!

I really enjoyed the class, and I like what you wrote, especially how you’ve captured the way that people break off in the middle of important moments to eat bread or pour beer; and the way we use these things sometimes to gather our thoughts, or to express them.

And as I told you that day, I very much enjoy Heidi, Geek Girl Detective!

Thanks for helping make my day at Hugo House a lot of fun.

Clarion West

I’ve talked here many times about the Clarion West Writers Workshop, and today I’m delighted to announce that I will serve as Board Chair of Clarion West in 2010.

This is a happy thing for me. I believe Clarion West is the best workshop for emerging professional speculative fiction writers in the world, and I’m enormously honored to have this chance to serve, protect, sustain and love it. It won’t be hard: it’s a great organization that has been beautifully managed for years, with a wide community of volunteers, alumni, donors and supporters who feel the same deep connection to the workshop that I do. And I’m especially pleased to be working with award-winning writer (and wonderfully cool person) Kij Johnson as Vice Chair: Kij will take the Chair position in 2011.

I don’t think there’s any other organization I’d agree to do this work for right now: I’m busy, you know. But Clarion West makes a difference in the lives of writers, and that’s important to me. I hope you’ll be excited for me, and consider making Clarion West a part of your giving plan for 2010. You’ll be helping writers; and who knows what kind of wonderful stories they will make thanks to your support?

From the December 2009 Clarion West newsletter:
 
I’m honored and excited to be the incoming Chair of Clarion West.
 
I’ve been involved with Clarion West for many years. Wearing my writer hat, I’ve been a donor, submissions reader, party host, and workshop instructor. I’ve put on my business hat a time or two to provide organizational consulting to the board. Now I’m delighted to bring all the parts of me — storyteller, collaborative leader, teacher, a person who believes in the power of writing — to serve as Chair for 2010.
 
I’ve committed to Clarion West because I know it works. I was a student at Clarion in Michigan in 1988, and in six grueling, terrifying, exhilarating weeks, the workshop changed my life. I learned that I could write, and how to write better. I met my partner, novelist Nicola Griffith. I wrote what would become my first published story. Clarion was my gateway to the writing life and to the vibrant, diverse community of science fiction writers, readers, artists, teachers, editors and publishers; after more than 20 years, I’m still thrilled to be here.
 
Writing matters. Stories and books entertain, comfort, inspire and sustain us. Sometimes they change our minds. Sometimes they change our lives. Supporting the growth of emerging professional writers is one of the best ways I know to make sure that that keeps happening. I’ve never found a workshop that does it better than Clarion West.
 
As a writer, I’m focused on keeping Clarion West a successful and transformative experience for writers. As a leader, I’m committed to maintaining the solid, stable organization that has been built by the hard work of so many people, including the immeasurable contributions of Kate Schaefer, Outgoing Development Director (whom we will all miss enormously), and Deborah and Eileen (who I’m grateful will remain with the board ).
 
I’m proud to join a team of brilliant workshop administrators; board members with excellent financial management, communication, and strategic skills; volunteers who make hard work look easy and make so many things possible for Clarion West; and a national and international community of graduates, instructors, donors, and supporters who sustain us. Thank you all for everything you do, and for allowing me to be a part of it. I’m looking forward to 2010.
 
— Kelley Eskridge