I've written extensively about writing as an artform in my review column
http://www.simegen.com/reviews/rereadablebooks/
but right after returning from Denvention III, the World Science Fiction Convention of 2008, I had another blazing, blinding insight into the mysteries of ART and storytelling.
For most people, this will seem boring, complex, abstract and maybe trivial or absurd. But this is an example of how I learn.
I suspect this insight was sparked by several factors I will identify below. It is a "perfect storm" of input and experiences that brought me what I want to share with you.
I think that reading -- and then writing about what you've read -- as well as writing original stories of your own, is a process, an adventure in consciousness. As you can't learn anything by reading books ABOUT that thing -- you can't learn to write by reading about writing. You have to do some writing -- but there's more to the homework. You have to assemble and express what you've learned. The apprenticeship method -- "See one. Do one. Teach one."
I want to point you to my review column of June 2008
http://www.simegen.com/reviews/rereadablebooks/2008/
Where I discuss Spiderman 2 (which is a Romance, you know). I wrote that column nearly 6 months before this huge insight which came to me while I was watching (again) Spiderman 2.
Long ago, when I was in grammar school, Alma Hill, a professional writer who ran the first (free) writing workshop I ever joined which was under the auspices of the N3F (National Fantasy Fan Federation), a companion organization to SFWA ( Science Fiction Writers of America), taught me something that forms the foundation of this massive new insight. I use it for the motto of the WorldCrafters Guild (the free writing school we run on simegen.com).
Writing is a Performing Art.
As you can't learn acting or dancing or playing a musical instrument by reading about them, you can't learn writing by reading about writing. But likewise, just practicing in a room by yourself won't give you the skills of an actor, dancer or musician -- you must get out on stage before people and PERFORM because the art is a performing art. And WRITING IS A PERFORMING ART. It sounds so simple. I told you, therefore you know it. Ah, but it doesn't work that way. This is a very abstract notion that brings together a thousand theories of the universe into one package. It is profound!
WRITING IS A PERFORMING ART.
When you finally come to internalize that bit of wisdom, you begin to be able to flip your point of view from "outside looking into a story" to "inside looking out from the story into the world" -- onstage/offstage -- and then to flip back and forth so rapidly you can hardly tell which way you are looking at a piece of fiction.
So this insight I'm going to try to describe will sound obvious and useless from one point of view, and "the key to the universe" from another point of view.
It's complex because it is a synthesis of a huge range of experiences I've had at Denvention 3, then afterward, but goes back to grammar school, and includes much of the writing and working that I've been doing this last two years.
On the other hand, it is soooo obvious, that in retrospect I wonder how I could be so dull witted as not to have seen it and understood the implications before this. I suppose the whole world already has understood this and I'm the last to learn it. But I believe I can see it now because of a series of experiences. Here's a short list of those experiences.
At Denvention 3, right at the beginning of the convention, Kristin Nelson (Linnea Sinclair's agent) gave a talk on how to construct a query letter description of a novel you have written and are trying to sell. I listened raptly because she was painting what I knew already for years, but knew it as if it were an analog video. But she was painting me the same picture in DIGITIZED form. She made it soooo clear. So vivid. So sharp-edged.
I quoted Jean Lorrah's notes on Kristin Nelson's the method of formulating a novel description in
http://aliendjinnromances.blogspot.com/2008/08/denvention-3-walk-con.html
At the end of Kristin's talk, I commented from the audience and Kristin paraphrased my comment about writing the cover copy before you write the novel brilliantly:
http://pubrants.blogspot.com/2008/08/straight-from-reviewers-mouth.html
In my con report blog entry, I forgot to mention an encounter with Lois McMaster Bujold outside the Dealer's Room when we were headed in opposite directions at con speeds. She rattled off the startling news that she would be quoting me in her Guest of Honor speech at the Convention and sped away (remember, the mean free path of a pro at a con is about 15 feet, maybe 30 if you move fast enough).
So I sped off in the opposite direction and about 30 feet later, it hit me what she'd said. Wow. Amazing. She's quoting me in the Guest of Honor speech at WorldCon.
Here is her blog entry with a transcript of her speech which is about genres and particularly the blending of Romance and SF which is a hobbyhorse of mine.
http://blog.myspace.com/index.cfm?useaction=blog.view&friendID=164952151&blogID=423204224
Here's a quote out of the middle of Lois's magnificent speech:
So the two genres -- Romance and SF -- would seem to be arm-wrestling about the relative importance of the personal and the political. My solution for The Sharing Knife was to align the two levels by making the central characters be each a representative of their respective and conflicting cultures. Even so, to balance the elements I still had to divide the tetralogy into two halves, the first pair of volumes concentrating on cementing the relationship, and the second pair looking outward from this now-firm foundation once again to the larger stage. Most of all The Sharing Knife as a whole does not have a villain-driven plot, fun and cathartic as those can be. (I know: I've written a boatload of them.) For the political side, I set Dag and Fawn to wrestle with a much more difficult and diffuse problem, a demographic problem, not of merely destroying the villain du jour, but of building connections and friendships and fresh ways of doing things that will allow both their peoples to meet the challenge of many new dangers in their future. Building is harder than destroying. "Winning" in the usual sense is not what's going on, here, but the prize is certainly their world. Seeing where the books' argument is finally going to end up must wait for February 2009, and the last volume, Horizon.
The reader-response from the skiffy crowd so far has been exactly as my hypothesis predicted -- once the focus shifted back to the political in Book 3, they perked up and decided it was really a story after all. Except for the usual holdouts, who only process action as significant when it takes the form of "guys hitting each other", who are likely not the audience for these books in the first place. Although I am reminded of Jacqueline Lichtenberg's tart description of action scenes, roughly paraphrased: "The story is going along, but then stops while guys hit each other. Guys hit each other for three pages, then stop. The story starts again." (I've been watching a bit of shonen (that is, boys') anime lately, and I must say that describes those episodes to a T.)
Lois's comment on a casual comment I had made about action plotting (probably made the same comment on a number of panels over the years -- but didn't quite HEAR myself) finally penetrated all the way when I saw it paraphrased in print on her blog. I learn from reading not hearing.
At another point at Denvention 3 I was on a panel with Marc Zicree and once again thinking through what he has done with Star Trek and other SF in the visual media.
I'm also on the social network LinkedIn where from time to time writers ask very insightful questions that I feel impelled to answer. Sometimes I'm surprised at what I say! I answered a few questions on writing --
http://www.linkedin.com/in/jacquelinelichtenberg
is my profile, and LinkedIn members should be able to find my answers (and link to me) on that profile.
So, these experiences are sinking in as I finally get some time to plop down and watch what's collected on my TV recorder. The oldest thing on there is taking up 3 hours of space and it's SPIDERMAN 2. Well, I can't erase it without watching it again. That's one I don't have the DVD for. So I watched it again.
Here's a quote from my June review:
Look more closely at Spiderman 2. Ostensibly about a guilt ridden Superhero fighting a monster created by pride, this movie discusses in depth the issue of what makes a human being a hero just as Elf discusses what property of the world creates the kindly generosity of Santa’s annual ride.
Where does the power come from? Where does magic come from? How does being the focus of the magic generated by public attention (Santa has his moment, but Spiderman is always expected to perform miracles) change a person? Where inside the ordinary human psyche does this magical power come from? And what can break it?
Are we all just broken superheroes or supernatural beings who could change the world if only we were fixed?
We all have our favorite answers. For Elf, the power comes from belief, which once restored let Buddy find his place in his world. For Spiderman, the power comes from a clear conscience purified by confession.
Power, which the world views as magical, or Star Wars dubs "The Force," is viewed as connected to the foundations of what many cultures call morality. But as Theodore Sturgeon advised, we must ask the next question, not just stop thinking at "Right Makes Might".
Well, I stand by all that. But now, out of the stew of experiences noted above and more, I see something in Spiderman 2 with that kind of DIGITIZED clarity Kristin Nelson achieved in her talk on query letters.
Amidst this stew of experiences, I had occasion to remember an insight I had into the genre of Comedy while watching the Mary Tyler Moore show.
I saw how the script writers took everyday human embarrassments, saying or failing to say something at just the right point, foibles, failings and pure NIGHTMARE ( like showing up at school in only your underwear ) -- experiences that we all think about in passing but then shun, flinch away from thinking about -- and then the screenwriter portrays those experiences on the screen in SHOW DON'T TELL.
At full concert pitch, the writer PERFORMS the experience for the viewer. The fictional situation and characters are "caricature" sketches of reality, not photographic recordings of reality. These are all analog experiences, analogous to but not the same as our everyday reality.
"The same as" wouldn't be funny.
The actors are tools the writer uses to evoke that exquisite pain, keeping it just short of the viewer's conscious recognition as pain.
I saw the mechanism by which comedy writers turned ordinary people's ordinary experiences of the ordinary world inside out and exposed the human's interior life for all the world to see.
That "exposure" of what is personal and private is what makes it funny.
I saw the mechanism that makes comedy "work" -- that gets a laugh.
And the great spiritual benefit of laughter lies not just in the physical release of tension and the physical exercise of the diaphragm -- it also lies in sharing our innermost subconscious reality with OTHER PEOPLE. Sitting in an audience (or watching TV alone, knowing others watch alone too), you can experience the subconscious and painful reality others live in and recognize yourself in those people.
Comedy, when done right, is a binding force of society as strong as love. And thus the Romantic Comedy rules the roost in films!
This Mary Tyler Moore insight came to me years and years before Blake Snyder wrote his definitive books on screenwriting, SAVE THE CAT! and SAVE THE CAT GOES TO THE MOVIES!
Snyder's main point is that the essence of story is the PRIMAL experience. He goes to considerable length explaining what "Primal" means in this context. The plot, the life-issues the main character faces must be (in order for the story to be movie material, not a novel) so basic, so purely human, that a caveman could understand it (no insult). It has to be something viewers grasp clearly from the images, something every human being understands because they are human.
What I saw in MARY TYLER MOORE SHOW is exactly what it is that makes COMEDY so very PRIMAL.
It was one of those "flip" moments when instead of being a viewer, watching from the outside, I became a writer, evaluating from the inside. I saw where inside the writer the primal comedy came from -- I saw the mechanism of comedy apart from the art of it. And I saw the art of it as the teasing balance on the edge of unbearable PAIN - emotional pain, primal emotional pain.
You're probably thinking: "Well, everybody knew that already! Where have you been?"
I'm sure you've read this exact same thing in many books about writing.
*sigh* but knowing and understanding are not the same thing. In that moment, watching THE MARY TYLER MOORE SHOW, what I knew became something I understood. I grokked comedy as a writing craft -- consistent and reproducible, methodical and mechanical -- as well as an artform, unique and magical -- and as a performing art.
That insight has stayed with me, and now all these years later, I have another to add to it. This one is on SUPERHERO FANTASY.
One of the questions on LINKEDIN.com that I was intrigued by but didn't get to answer fully was about why it is that Americans are so responsive to the superhero movies today. I still don't know the answer to that question in full, but I have a whole new perception of what a superhero movie is.
What is the appeal of comic books? Graphic novels? Superman. Green Arrow. Lone Ranger. Spiderman. Buffy.
Just as I said in my Spiderman 2 review -- this is the story of every human being living inside him or herself.
Every one of us is a Superhero inside. We all know beyond a doubt who we really are -- and it is NOT that clumsy wimp or clutzy dunce the rest of the world sees.
We fight our everyday battles ( car breakdowns; buses that get us to work late; cell phones out of juice; stains on the white shirt we have to wear to a meeting; stubborn or suborned computers; high gas prices) until we reach total collapse of strength and will.
Our story is the story of confronting and facing down our internal demons, our own personal emotional issues (Spiderman's bout with Guilt is not everyone's emotional struggle; some people don't get disabled by Guild). Spiderman 2 is not OUR story, but it is ANALOGOUS TO the story of all our disparate emotional lives.
We gravitate toward the primal Superhero stories because they are about our own lives -- with ourselves cast as Superhero. We help others at risk to ourselves; we fumble and stumble and fall, cast off that "identity" and stand tall, lower our voices and answer the phone with our corporate voice. We all have many identities.
And we get confused. Are we really the Superhero -- or the wimp?
The primal Superhero story is about Identity. But it's our own search for identity -- the perplexing question of whether we are what the world sees us to be or what we know ourselves to be?
Where does our strength come FROM?
That is the COMIC BOOK STORY.
Like Comedy, the comic book story is about our universal internal life exposed for all to see and all to share.
When a comic book character (think Tom&Jerry) falls off a cliff and smashes flat against the ground, it is ANALOGOUS to what we feel when something unexpected and emotionally painful stuns us. Comic book action makes our invisible emotional responses visible.
The appeal of the comic book is simply that it replicates in art, writ larger than life, our very own internal struggle with that which opposes our will, ethics, morals, or sense of identity.
Just as Comedy exposes our inner, most secret fears of embarrassment and other emotional pain of that social sort -- the Comic Book (especially the violent Superhero ones) exposes our inner struggle with conflicting demands, thwarted will, the pain of being defeated, and the eternal search for the strength to overcome.
The ostensible primal story of the Superhero is the story of Strength coming to the rescue of the Weak and Defenseless.
But the secret to understanding why these stories are so popular among the weak and defenseless is the opposite to what you normally assume.
It isn't the fascination with being rescued that is so riveting. It is the affirmation of the inner conviction that you, yourself are inherently the Rescuer -- but you just have to figure out where to get the strength. The Super Strength.
Thus the most popular (and Primal) Superhero stories are about the Superhero's struggle to find out where to get the strength. Or when having the strength, the power, finding out when NOT to use it.
That isn't someone else's story. That is the story of our own everyday life exposed for all to see. We drive cars that are lethal weapons. Every driver has super-power. Every driver has the kind of super-power and super-problems that Spiderman does.
So contrast and compare THE MARY TYLER MOORE SHOW with SPIDERMAN 2. What do they have in common?
Writers who know how to use art to expose the mechanism of our internal psychological reality have mastered the hardest lesson in any course on writing -- SHOW DON'T TELL.
Reading about it won't give you any skill at using it.
Jacqueline Lichtenberg
http://www.slantedconcept.com/
Showing posts with label Denvention III. Show all posts
Showing posts with label Denvention III. Show all posts
Tuesday, August 19, 2008
Tuesday, August 12, 2008
Denvention 3 = Walk-a-con
I had a wonderful time, overall, and made several new acquaintances, learned a great deal and brainstormed some new screenwriting ideas. The overall theme of most conversations I was in was MARKETING -- promotion, advertising, blurb writing, pitching, salesmanship.
I arrived Tuesday Aug 5th. Jean was late in due to thunderstorms. We crashed that night and picked up our badges and program participant materials on Wednesday. That took an hour and a half. Some program participants stuck in the pre-registration "get your badge here" line, which you had to go through before getting your final panel schedule, were late to their panels because of this.
We were told there were hotspots for Internet access in the area, but until Thursday, I had no Internet access. We finally decided (Jean Lorrah and Torun Almer and I) to split the cost of a T-Mobile temporary account to get Torun's notebook online.
T-Mobile has a grand reputation. We thought the monetary expense would be the only expense. Instead, in order to complete and maintain the T-Mobile connection, Torun spent several hours over 4 or 5 days on her cell phone on tech support with T-Mobile, and it was a struggle. But we were able to file brief con reports and get a number of business emails attended to. Frankly, I don't recommend T-Mobile from hotels. The hotel access that was offered, though, was slower than T-Mobile. T-Mobile wasn't fast enough or enabled enough to allow sending a short video from Jean's camera or you might have had a video report. It was just a hassle all around.
Wednesday I attended a panel where Kristin Nelson was giving a slide presentation on how to write a cover blurb. Kristin is Linnea Sinclair's agent and it was marvelous to discover that Kristin is the bright, splendid, energetic and erudite person I'd expect for Linnea to choose as an agent. She really REALLY knows her business. Kristin used Linnea's covers as examples in her presentation.
Jean Lorrah took these notes (it was that kind of lecture you needed notes):
-----------------------------
The cover blurb (and the query letter, which ideally becomes the cover blurb) should be no more than nine sentences, but may be more than one paragraph. It should include these four elements and nothing more:
Catalyst
Backstory
Character
Inter-related Plot Elements
Any sentence that does not address one of those four elements should be removed.
------------------------
http://www.nelsonagency.com/ -- somewhere on there or a related URL there should be a FAQ page by Kristin with more details, but we can't seem to find it. Someone who knows the FAQ URL Kristin referred to, please drop a note on this blog.
At the end when Kristin Nelson opened the discussion to the audience, I interjected several comments to the audience full of writers about how reviewers use cover blurbs to extract a book from the avalanche of books publishers send us. And from the writer's point of view, in order to penetrate the reviewer's mind and be reviewed, it's best to write the cover blurb FIRST, then write the novel to fit it (which I've done on books of mine that got New York Times, Library Journal etc etc reviews). When I got home, I discovered Kristin had mentioned my comment in her blog.
http://pubrants.blogspot.com/
And that was mentioned in other blogs:
http://jennakrumlauf.blogspot.com/
http://www.lisashearin.com/blog.cfm
Thursday morning, Jean Lorrah and I opened the SFWA Suite -- made coffee and put out breakfast foods. A few dozen SFWA members (Science Fiction Writers of America -- see sfwa.org ) dropped by to tank up on coffee before their early panels. We met some people we hadn't known before and had catch-up conversations with old friends. The hours melted away!
Thursday afternoon I was on two panels that will remain memorable.
The first had an odd topic title about how large a galactic empire could be.
As I arrived for the panel, three fans with armloads of my books ambushed me for autographs. The program had me listed as doing autographs on Saturday, but the fans knew that wasn't going to happen because I don't do autographings on Saturday. I had put in a program change to a Sunday slot with Jean, but the daily newsletter hadn't published it yet. And they'd lugged all these books here. It had to be a mile or more from their hotel room.
There were 7 hotels scattered around the side of the convention center that was opposite where our convention space was. Even by Thursday it was clear we would spend more time walking than talking at this convention, and so it was. But my heart went out to those who carried so much extra weight so far in such thin air just to get my autograph.
So, sort of against the rules, I sat down at the panel table to sign autographs real-quick-like because the panel was starting. (usually you autograph after a panel)
In fact, the moderator came over and wanted me to leave because the next panel was about to start -- then I said but I'm on the next panel, not the previous one, and she laughed as everyone else took their places and found their name cards.
As panelists were being seated, a woman came up to me from the audience -- and I didn't get her name, but I remember her face. She said I'd analyzed one of her short stories at a previous convention and she'd done what I said had to be done to the story -- and had just a few days ago SOLD the story, her first sale. I told her to tell the audience what she'd told me, and she did. BIG CHEER!!!! I'm so bummed that I didn't write her name and the story title and publisher down so I could be sure everyone reads her story! (I do remember I liked it!) This may be Linnea-Sinclair-the-next-generation!
Most of the people in the audience were writers, so I ended up sketching a formula for how to use this question about the size of a galactic empire in WorldBuilding.
First we talked about TIME -- how long does it take to get information and/or goods from one end of the Empire to another? Any political structure is limited in size not by geography but transit time. I cited Ursula LeGuin's LEFT HAND OF DARKNESS and the ansible technology.
Then we talked about MOTIVE. Why would anyone want a political organization that big? Why would any species (humans included) want or need to organize on such a scale. In all fiction, the key to plausibility is MOTIVE. In this case it has to be the motives of the non-humans (based in their biology) and the motives of humans based on the usual plus unusual circumstances.
The list of motives I have scribbled down here are:
a) PROFIT $$$ and otherwise, sometimes emotional
b) KNOWLEDGE and/or DATA (I was thinking of but did not mention Robert J. Sawyer's novel ROLLBACK which postulates aliens trying to get into touch with Earth by sending their own genetic code to Earth so we can create a breeding circle of members of their species. I later sat beside Sawyer at the con's autographing session but forgot to mention that!)
c) CURIOSITY -- just because you want to know what's on the other side
d) RELIGION -- maybe to convert everyone, or maybe because your religion says you must go see what's out there.
e) Uniting against an external threat -- maybe you need to organize the neighborhood against an extra-galactic threat. Maybe it's not a threat but you think it is.
f) ART -- often the first trade a newly discovered people engage in is "native art".
g) EXCESS POPULATION -- maybe finding colonizable planets and offloading criminals or just plain huge numbers of people is the motivation. Some mathematicians have shown you can't export excess population.
h) everything we haven't thought of -- those ideas make the BEST galactic novels
And then we discussed how such a galactic sprawl of a political unit might be governed, and why writers default to the "Empire" or central-control model. I mentioned the place of background in an artistic composition such as a novel, and we talked about sociological SF a bit.
It's amazing how fast an hour goes!
The second intensely memorable panel was on whether Star Trek has made a difference in our modern world. Well, I doubt anyone here has an answer to that other than "yes" which ends the panel in one word. However the four or five panelists raced on and on talking and talking about all the various contributions that one bit of fiction has made to our modern way of life.
Rick Sternbach (Star Trek art director) was on the panel, as was Roberta Rogow (Star Trek fan writer turned pro). And I was seated next to Marc Zicree whose Star Trek: New Voyages episode WORLD ENOUGH AND TIME was up for a Hugo. I have known Marc for at least twenty years, since he started in the TV business. He really deserved that Hugo but didn't win. (this time)
Marc kept saying things that were on the tip of my tongue and it was delightful to feel how someone currently working (hard and fast) in the thick of things in Hollywood sees and understands the forces shaping what I call the "Fiction Delivery System" in very much the same way that I do. That lends me a feeling of confidence in the future.
Marc Zicree is one of the leaders -- will be one of the most powerful leaders in Hollywood. It's not just that he can do so much. It's that he understands what he's doing and can teach it, as can (and does) Blake Snyder with his SAVE THE CAT! series on screenwriting.
Jean Lorrah said that she and her collaborator, Lois Wickstrom had taken Marc's telephone seminar on how to pitch a screenplay and it had made a big difference in how their ideas were treated by various studios.
Friday we toured the Dealer's Room. Well, no, we entered the Dealer's Room to shop.
But we got caught in conversations here and there -- one Dealer had none of our books shelved with "Authors at this Convention" -- but a few of them over in "Autographed Copies". Then we ran into a new publisher from Canada who had some classic volumes displayed, new editions of oh, I can't remember, I think Dracula, Frankenstein, etc. Our kind of stuff.
I don't have his card or his name written down, but I remember a long conversation in which we explained some of our more harrowing experiences with publishers and the kinds of writing we do. Rarely do writers have the chance to discuss publishing in depth with someone who is "a publisher" -- rather than an editor who works for a publisher. The running of a publishing business lends an entirely different perspective. This particular conversation gave me more material for my concept of "the fiction delivery system" as it is functioning today. Things are still in flux, and our times are "interesting" so I will remember this rambling conversation for a while.
Friday night, one of the most skillful organizers of fans of Sime~Gen, Kaires, put together the Sime~Gen Party, which we combined with the Broaduniverse party and the EPIC party. The room was ultra tiny and taken up mostly by the huge king size bed (maybe it was a California King). I kept telling people who came in that this was a 3-fer party, and we got it all in because the room was a Tardis. Everyone knew exactly what I meant! I love fandom!
People flowed through the room constantly from 8PM to Midnight and Jean Lorrah and I kept explaining what Sime~Gen is or what it has to do with Broaduniverse and EPIC.
Short form:
"Broad Universe is an organization of professional women writers; EPIC is the organization of e-Book professionals; Sime~Gen is a series of novels by two women who also have e-books."
Our party got a nice mention in the evening edition of the daily newsletter of the Con. There were dozens and dozens of parties, most of them lavishly decorated and serving liquor (two attributes we did not have). But WE got mentioned along with our raffle of Sime~Gen novels.
Jean and I set ourselves the objective on Saturday of seeing the Art Show. We didn't make it.
I have no idea why. We were late getting up because we were out after mid-night at the Sime~Gen Party. We talked and talked that morning -- mostly plot, writing theory, and screenwriting ideas and techniques of MARKETING. Jean and her screenwriting collaborator Lois Wickstrom (who wasn't at Worldcon) have read SAVE THE CAT GOES TO THE MOVIES! by Blake Snyder, which gave us a paradigm in common to talk about. Market-market-market. It's a topic we really haven't spent much time on during our careers! We need to learn more about marketing.
Somehow it was 2PM or so before we got to the Colorado Convention Center top floor where the Art Show and Dealer's Room were located. And the Art Show closed on us so they could tear down for the Art Auction.
Jean was bound and determined to shop the Dealer's Room and said that she just had to do it without me because between her own getting caught in conversations and my getting caught in conversations there was no way we were going to do it together! She was right. We separated and both of us managed to see most of the Dealer's Room.
This re-confirmed my old saying that the mean-free-path of a pro at a con is about 15 feet.
Sunday, Jean and I did the convention autographing session. About 7 or 10 people sitting at a long table, each doing a 45 minute stint, but not all arriving or departing at the same time. Complicated.
People with books formed long lines, and sometimes a second segment of a line would hold back until the next writer swapped seats with the previous writer then flood forward. People who had more than 3 books to get signed had to go through the waiting line twice or more.
I was amazed that after the folks that ambushed me, and the other things I'd signed on the fly, there were still quite a few people who had read the program changes and arrived on time for my autograph slot. I signed only ONE copy of the Denvention III program book, so that will be a collector's item.
I keep thinking I've signed every copy of FACES OF SCIENCE FICTION ever printed -- and someone brings yet another copy! And I signed a pristine copy of STAR TREK LIVES! plus a first edition HOUSE OF ZEOR. The others are a blur because, as I noted above, somewhere in the middle of my signing stint, Robert J. Sawyer sat down next to me. I do love his books! That grabbed most of my attention.
After the autographing, there was a group of soft tissue massage professionals offering writers who autographed a free massage. I raced right over there and I got a massage from Patricia "Pat" J. Peterson, NCMT, who does Swedish, Polarity, Sports Massage as well as Cranialsacral Therapy -- boy, is she GOOD.
She apparently doesn't have a website and has all the clients she can handle. She's local to the Denver area. Email me if you need her phone number.
After that, I did another tour of the Dealer's Room. I stopped to look at some jewelry and the table next to that was from INTERZONE (the British magazine which carries science fiction and fantasy). I got to talking (well, I wasn't WALKING for a change) and gave them a copy of my newsletter. They insisted on giving me a copy of the magazine and I selected at random a 2006 edition. Then I went to meet Jean in the Green Room and set the magazine before her with the full back cover advertisement for a novel showing. "What do you think of this advertisement?"
As I said, the theme of all the convention for us, every conversation somehow, was marketing, promotion, advertising. Even a couple of email notes from Lois Wickstrom were about marketing, and believe me that's not the only topic Lois knows about! So it was fitting that the magazine I was given had this giant ad on the back with a single sentence in huge red letters on black, a bit of artwork at the top, the book cover at the bottom.
It was so "professional" on the surface, and so out of step with all the marketing stuff we'd been hearing and talking about that I wanted to see if Jean saw what I saw. (Keep in mind it's British.)
Jean basically did agree, which is unusual, so you can pretty much depend on it being true. The ad was totally generic but so generic it seemed more confusing than projecting the message "You want to read this book!"
So as people came in for one last cup of coffee (there actually was some food left; the Greenroom staff did a splendid job!!!) and sat down at our table (which was next to the coffee) I kept showing them (all men, writers and editors) this advertisement and asking what they make of it.
Some thought it was horror genre, some thought it was vampire, some thought it was poorly done -- nobody said the ad made them want the book.
So some people left, new people came, and I kept showing this ad for evaluation. I think we sat there for over an hour discussing that advertisement and MARKETING -- wrapping up the convention on the same theme it had started with at Kristin Nelson's panel on Linnea Sinclair's cover copy.
None of those who passed through our discussion sited Kristin Nelson's rules for cover copy writing though the ad violated them all. No matter how long you've been in this business, there is always more and MORE to learn.
Some of my memories of this convention are encapsulated in bright light and detached from Time.
At one point, in the Green Room, we met a new writer, Fancis Hamit, who is self-publishing and promoting a historical novel titled The Shenandoah Spy about a woman (who really existed) who became an Army Captain at age 18 in 1862. We talked marketing.
At another point in the Green Room, we ran into Beverly A. Hale who recalled when Jean and I had helped her teach a course in composition by providing some marked-up manuscript pages proving that professional writers REWRITE. We have a testimonial from her to post on our writing school. ( http://www.simegen.com/school/ ) That of course, has everything to do with Marketing because to sell and get published you must rewrite to specifications and today those specifications are dictated more and more by the Marketing Department.
In the airport van on the way home, I found myself sitting behind Mike Shepherd who writes the KRIS LONGKNIFE series for Ace Books. I love those books and give them my top recommendation every time I review one. He told me his motive for writing about this very strong but very feminine character, Kris Longknife is so that his granddaughter will have a hero to relate to as she grows up.
I can't think of a more worthy motive for writing -- but I tell you, those books are SPLENDID. If you like Linnea Sinclair's stuff, read Mike Shepherd.
My husband and I got to the airport to discover that United Airlines had cancelled our flight and wanted to put us on a flight the NEXT DAY. But one of the United Employees who worked the alternate arrangements desk, a Mr. Doherty who said he had a relative at the WorldCon, went out of his way to find us two seats together on US Air that would get us home approximately at the same time that the United flight would -- but we had to change planes in Colorado Springs. He walked us to the front of the Security Line or we'd never have made that flight (which was loading as he was typing into his computer!).
So the next time you see someone with an employee badge walking someone through the line reserved for flight crews, don't be too upset by it, please. If we'd missed that hop to Colorado Springs, I wouldn't be home yet (THANK YOU MR. DOHERTY). And we had to do all the security things, including take our shoes off!
When we got to the US Air desk in Colorado Springs, we were told they had never heard of us, but apparently we got there before their computers could update the database because we were put on the flight, there were two seats together numbered as our boarding passes said, and we weren't boarded last on standby! THANK YOU MR. DOHERTY!!!
All in all, it was a wonderful 6 days, but now work is so badly backed up I don't know what to do first. Everything on my desk is top priority and there's only one me!
Jacqueline Lichtenberg
http://www.simegen.com/jl/
I arrived Tuesday Aug 5th. Jean was late in due to thunderstorms. We crashed that night and picked up our badges and program participant materials on Wednesday. That took an hour and a half. Some program participants stuck in the pre-registration "get your badge here" line, which you had to go through before getting your final panel schedule, were late to their panels because of this.
We were told there were hotspots for Internet access in the area, but until Thursday, I had no Internet access. We finally decided (Jean Lorrah and Torun Almer and I) to split the cost of a T-Mobile temporary account to get Torun's notebook online.
T-Mobile has a grand reputation. We thought the monetary expense would be the only expense. Instead, in order to complete and maintain the T-Mobile connection, Torun spent several hours over 4 or 5 days on her cell phone on tech support with T-Mobile, and it was a struggle. But we were able to file brief con reports and get a number of business emails attended to. Frankly, I don't recommend T-Mobile from hotels. The hotel access that was offered, though, was slower than T-Mobile. T-Mobile wasn't fast enough or enabled enough to allow sending a short video from Jean's camera or you might have had a video report. It was just a hassle all around.
Wednesday I attended a panel where Kristin Nelson was giving a slide presentation on how to write a cover blurb. Kristin is Linnea Sinclair's agent and it was marvelous to discover that Kristin is the bright, splendid, energetic and erudite person I'd expect for Linnea to choose as an agent. She really REALLY knows her business. Kristin used Linnea's covers as examples in her presentation.
Jean Lorrah took these notes (it was that kind of lecture you needed notes):
-----------------------------
The cover blurb (and the query letter, which ideally becomes the cover blurb) should be no more than nine sentences, but may be more than one paragraph. It should include these four elements and nothing more:
Catalyst
Backstory
Character
Inter-related Plot Elements
Any sentence that does not address one of those four elements should be removed.
------------------------
http://www.nelsonagency.com/ -- somewhere on there or a related URL there should be a FAQ page by Kristin with more details, but we can't seem to find it. Someone who knows the FAQ URL Kristin referred to, please drop a note on this blog.
At the end when Kristin Nelson opened the discussion to the audience, I interjected several comments to the audience full of writers about how reviewers use cover blurbs to extract a book from the avalanche of books publishers send us. And from the writer's point of view, in order to penetrate the reviewer's mind and be reviewed, it's best to write the cover blurb FIRST, then write the novel to fit it (which I've done on books of mine that got New York Times, Library Journal etc etc reviews). When I got home, I discovered Kristin had mentioned my comment in her blog.
http://pubrants.blogspot.com/
And that was mentioned in other blogs:
http://jennakrumlauf.blogspot.com/
http://www.lisashearin.com/blog.cfm
Thursday morning, Jean Lorrah and I opened the SFWA Suite -- made coffee and put out breakfast foods. A few dozen SFWA members (Science Fiction Writers of America -- see sfwa.org ) dropped by to tank up on coffee before their early panels. We met some people we hadn't known before and had catch-up conversations with old friends. The hours melted away!
Thursday afternoon I was on two panels that will remain memorable.
The first had an odd topic title about how large a galactic empire could be.
As I arrived for the panel, three fans with armloads of my books ambushed me for autographs. The program had me listed as doing autographs on Saturday, but the fans knew that wasn't going to happen because I don't do autographings on Saturday. I had put in a program change to a Sunday slot with Jean, but the daily newsletter hadn't published it yet. And they'd lugged all these books here. It had to be a mile or more from their hotel room.
There were 7 hotels scattered around the side of the convention center that was opposite where our convention space was. Even by Thursday it was clear we would spend more time walking than talking at this convention, and so it was. But my heart went out to those who carried so much extra weight so far in such thin air just to get my autograph.
So, sort of against the rules, I sat down at the panel table to sign autographs real-quick-like because the panel was starting. (usually you autograph after a panel)
In fact, the moderator came over and wanted me to leave because the next panel was about to start -- then I said but I'm on the next panel, not the previous one, and she laughed as everyone else took their places and found their name cards.
As panelists were being seated, a woman came up to me from the audience -- and I didn't get her name, but I remember her face. She said I'd analyzed one of her short stories at a previous convention and she'd done what I said had to be done to the story -- and had just a few days ago SOLD the story, her first sale. I told her to tell the audience what she'd told me, and she did. BIG CHEER!!!! I'm so bummed that I didn't write her name and the story title and publisher down so I could be sure everyone reads her story! (I do remember I liked it!) This may be Linnea-Sinclair-the-next-generation!
Most of the people in the audience were writers, so I ended up sketching a formula for how to use this question about the size of a galactic empire in WorldBuilding.
First we talked about TIME -- how long does it take to get information and/or goods from one end of the Empire to another? Any political structure is limited in size not by geography but transit time. I cited Ursula LeGuin's LEFT HAND OF DARKNESS and the ansible technology.
Then we talked about MOTIVE. Why would anyone want a political organization that big? Why would any species (humans included) want or need to organize on such a scale. In all fiction, the key to plausibility is MOTIVE. In this case it has to be the motives of the non-humans (based in their biology) and the motives of humans based on the usual plus unusual circumstances.
The list of motives I have scribbled down here are:
a) PROFIT $$$ and otherwise, sometimes emotional
b) KNOWLEDGE and/or DATA (I was thinking of but did not mention Robert J. Sawyer's novel ROLLBACK which postulates aliens trying to get into touch with Earth by sending their own genetic code to Earth so we can create a breeding circle of members of their species. I later sat beside Sawyer at the con's autographing session but forgot to mention that!)
c) CURIOSITY -- just because you want to know what's on the other side
d) RELIGION -- maybe to convert everyone, or maybe because your religion says you must go see what's out there.
e) Uniting against an external threat -- maybe you need to organize the neighborhood against an extra-galactic threat. Maybe it's not a threat but you think it is.
f) ART -- often the first trade a newly discovered people engage in is "native art".
g) EXCESS POPULATION -- maybe finding colonizable planets and offloading criminals or just plain huge numbers of people is the motivation. Some mathematicians have shown you can't export excess population.
h) everything we haven't thought of -- those ideas make the BEST galactic novels
And then we discussed how such a galactic sprawl of a political unit might be governed, and why writers default to the "Empire" or central-control model. I mentioned the place of background in an artistic composition such as a novel, and we talked about sociological SF a bit.
It's amazing how fast an hour goes!
The second intensely memorable panel was on whether Star Trek has made a difference in our modern world. Well, I doubt anyone here has an answer to that other than "yes" which ends the panel in one word. However the four or five panelists raced on and on talking and talking about all the various contributions that one bit of fiction has made to our modern way of life.
Rick Sternbach (Star Trek art director) was on the panel, as was Roberta Rogow (Star Trek fan writer turned pro). And I was seated next to Marc Zicree whose Star Trek: New Voyages episode WORLD ENOUGH AND TIME was up for a Hugo. I have known Marc for at least twenty years, since he started in the TV business. He really deserved that Hugo but didn't win. (this time)
Marc kept saying things that were on the tip of my tongue and it was delightful to feel how someone currently working (hard and fast) in the thick of things in Hollywood sees and understands the forces shaping what I call the "Fiction Delivery System" in very much the same way that I do. That lends me a feeling of confidence in the future.
Marc Zicree is one of the leaders -- will be one of the most powerful leaders in Hollywood. It's not just that he can do so much. It's that he understands what he's doing and can teach it, as can (and does) Blake Snyder with his SAVE THE CAT! series on screenwriting.
Jean Lorrah said that she and her collaborator, Lois Wickstrom had taken Marc's telephone seminar on how to pitch a screenplay and it had made a big difference in how their ideas were treated by various studios.
Friday we toured the Dealer's Room. Well, no, we entered the Dealer's Room to shop.
But we got caught in conversations here and there -- one Dealer had none of our books shelved with "Authors at this Convention" -- but a few of them over in "Autographed Copies". Then we ran into a new publisher from Canada who had some classic volumes displayed, new editions of oh, I can't remember, I think Dracula, Frankenstein, etc. Our kind of stuff.
I don't have his card or his name written down, but I remember a long conversation in which we explained some of our more harrowing experiences with publishers and the kinds of writing we do. Rarely do writers have the chance to discuss publishing in depth with someone who is "a publisher" -- rather than an editor who works for a publisher. The running of a publishing business lends an entirely different perspective. This particular conversation gave me more material for my concept of "the fiction delivery system" as it is functioning today. Things are still in flux, and our times are "interesting" so I will remember this rambling conversation for a while.
Friday night, one of the most skillful organizers of fans of Sime~Gen, Kaires, put together the Sime~Gen Party, which we combined with the Broaduniverse party and the EPIC party. The room was ultra tiny and taken up mostly by the huge king size bed (maybe it was a California King). I kept telling people who came in that this was a 3-fer party, and we got it all in because the room was a Tardis. Everyone knew exactly what I meant! I love fandom!
People flowed through the room constantly from 8PM to Midnight and Jean Lorrah and I kept explaining what Sime~Gen is or what it has to do with Broaduniverse and EPIC.
Short form:
"Broad Universe is an organization of professional women writers; EPIC is the organization of e-Book professionals; Sime~Gen is a series of novels by two women who also have e-books."
Our party got a nice mention in the evening edition of the daily newsletter of the Con. There were dozens and dozens of parties, most of them lavishly decorated and serving liquor (two attributes we did not have). But WE got mentioned along with our raffle of Sime~Gen novels.
Jean and I set ourselves the objective on Saturday of seeing the Art Show. We didn't make it.
I have no idea why. We were late getting up because we were out after mid-night at the Sime~Gen Party. We talked and talked that morning -- mostly plot, writing theory, and screenwriting ideas and techniques of MARKETING. Jean and her screenwriting collaborator Lois Wickstrom (who wasn't at Worldcon) have read SAVE THE CAT GOES TO THE MOVIES! by Blake Snyder, which gave us a paradigm in common to talk about. Market-market-market. It's a topic we really haven't spent much time on during our careers! We need to learn more about marketing.
Somehow it was 2PM or so before we got to the Colorado Convention Center top floor where the Art Show and Dealer's Room were located. And the Art Show closed on us so they could tear down for the Art Auction.
Jean was bound and determined to shop the Dealer's Room and said that she just had to do it without me because between her own getting caught in conversations and my getting caught in conversations there was no way we were going to do it together! She was right. We separated and both of us managed to see most of the Dealer's Room.
This re-confirmed my old saying that the mean-free-path of a pro at a con is about 15 feet.
Sunday, Jean and I did the convention autographing session. About 7 or 10 people sitting at a long table, each doing a 45 minute stint, but not all arriving or departing at the same time. Complicated.
People with books formed long lines, and sometimes a second segment of a line would hold back until the next writer swapped seats with the previous writer then flood forward. People who had more than 3 books to get signed had to go through the waiting line twice or more.
I was amazed that after the folks that ambushed me, and the other things I'd signed on the fly, there were still quite a few people who had read the program changes and arrived on time for my autograph slot. I signed only ONE copy of the Denvention III program book, so that will be a collector's item.
I keep thinking I've signed every copy of FACES OF SCIENCE FICTION ever printed -- and someone brings yet another copy! And I signed a pristine copy of STAR TREK LIVES! plus a first edition HOUSE OF ZEOR. The others are a blur because, as I noted above, somewhere in the middle of my signing stint, Robert J. Sawyer sat down next to me. I do love his books! That grabbed most of my attention.
After the autographing, there was a group of soft tissue massage professionals offering writers who autographed a free massage. I raced right over there and I got a massage from Patricia "Pat" J. Peterson, NCMT, who does Swedish, Polarity, Sports Massage as well as Cranialsacral Therapy -- boy, is she GOOD.
She apparently doesn't have a website and has all the clients she can handle. She's local to the Denver area. Email me if you need her phone number.
After that, I did another tour of the Dealer's Room. I stopped to look at some jewelry and the table next to that was from INTERZONE (the British magazine which carries science fiction and fantasy). I got to talking (well, I wasn't WALKING for a change) and gave them a copy of my newsletter. They insisted on giving me a copy of the magazine and I selected at random a 2006 edition. Then I went to meet Jean in the Green Room and set the magazine before her with the full back cover advertisement for a novel showing. "What do you think of this advertisement?"
As I said, the theme of all the convention for us, every conversation somehow, was marketing, promotion, advertising. Even a couple of email notes from Lois Wickstrom were about marketing, and believe me that's not the only topic Lois knows about! So it was fitting that the magazine I was given had this giant ad on the back with a single sentence in huge red letters on black, a bit of artwork at the top, the book cover at the bottom.
It was so "professional" on the surface, and so out of step with all the marketing stuff we'd been hearing and talking about that I wanted to see if Jean saw what I saw. (Keep in mind it's British.)
Jean basically did agree, which is unusual, so you can pretty much depend on it being true. The ad was totally generic but so generic it seemed more confusing than projecting the message "You want to read this book!"
So as people came in for one last cup of coffee (there actually was some food left; the Greenroom staff did a splendid job!!!) and sat down at our table (which was next to the coffee) I kept showing them (all men, writers and editors) this advertisement and asking what they make of it.
Some thought it was horror genre, some thought it was vampire, some thought it was poorly done -- nobody said the ad made them want the book.
So some people left, new people came, and I kept showing this ad for evaluation. I think we sat there for over an hour discussing that advertisement and MARKETING -- wrapping up the convention on the same theme it had started with at Kristin Nelson's panel on Linnea Sinclair's cover copy.
None of those who passed through our discussion sited Kristin Nelson's rules for cover copy writing though the ad violated them all. No matter how long you've been in this business, there is always more and MORE to learn.
Some of my memories of this convention are encapsulated in bright light and detached from Time.
At one point, in the Green Room, we met a new writer, Fancis Hamit, who is self-publishing and promoting a historical novel titled The Shenandoah Spy about a woman (who really existed) who became an Army Captain at age 18 in 1862. We talked marketing.
At another point in the Green Room, we ran into Beverly A. Hale who recalled when Jean and I had helped her teach a course in composition by providing some marked-up manuscript pages proving that professional writers REWRITE. We have a testimonial from her to post on our writing school. ( http://www.simegen.com/school/ ) That of course, has everything to do with Marketing because to sell and get published you must rewrite to specifications and today those specifications are dictated more and more by the Marketing Department.
In the airport van on the way home, I found myself sitting behind Mike Shepherd who writes the KRIS LONGKNIFE series for Ace Books. I love those books and give them my top recommendation every time I review one. He told me his motive for writing about this very strong but very feminine character, Kris Longknife is so that his granddaughter will have a hero to relate to as she grows up.
I can't think of a more worthy motive for writing -- but I tell you, those books are SPLENDID. If you like Linnea Sinclair's stuff, read Mike Shepherd.
My husband and I got to the airport to discover that United Airlines had cancelled our flight and wanted to put us on a flight the NEXT DAY. But one of the United Employees who worked the alternate arrangements desk, a Mr. Doherty who said he had a relative at the WorldCon, went out of his way to find us two seats together on US Air that would get us home approximately at the same time that the United flight would -- but we had to change planes in Colorado Springs. He walked us to the front of the Security Line or we'd never have made that flight (which was loading as he was typing into his computer!).
So the next time you see someone with an employee badge walking someone through the line reserved for flight crews, don't be too upset by it, please. If we'd missed that hop to Colorado Springs, I wouldn't be home yet (THANK YOU MR. DOHERTY). And we had to do all the security things, including take our shoes off!
When we got to the US Air desk in Colorado Springs, we were told they had never heard of us, but apparently we got there before their computers could update the database because we were put on the flight, there were two seats together numbered as our boarding passes said, and we weren't boarded last on standby! THANK YOU MR. DOHERTY!!!
All in all, it was a wonderful 6 days, but now work is so badly backed up I don't know what to do first. Everything on my desk is top priority and there's only one me!
Jacqueline Lichtenberg
http://www.simegen.com/jl/
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