Delia Sherman and Ellen Kushner will be instructors on the WXR 2015 Workshop and Cruise!

One of the things that we’ve liked about the Writing Excuses Workshop and Retreats in the past has been that we’ve had a small student teacher ratio. When we were setting up the cruise, and decided to remove the membership cap, we knew that we wanted to try to preserve that intimate student experience. We brought Nalo Hopkinson on board immediately.

Our plan was to add additional teachers as the size of the membership grew. We have 110 students and 36 additional family members cruising with us.

It’s time to add more teachers.

Allow me to introduce Ellen Kushner and Delia Sherman, who will be joining us for the cruise.

Ellen Kushner - Delia Sherman - 2014 - Melissa C Beckman

 

You might remember them from their appearance on the show talking about Interstitial Fiction. But here are their formal bios which tells you a little bit about how very cool they are.

Delia Sherman was born in Tokyo, Japan, and brought up in New York City. Delia’s short fiction for adults has appeared most recently in the anthologies Naked City and Queen Victoria’s Book of Spells. Stories for teen readers have appeared in numerous anthologies, including Steampunk! and Under My Hat. “CATNYP,” a story of a magical New York Between, inspired her middle grade novels Changeling and The Magic Mirror of the Mermaid Queen. The Freedom Maze, a time-travel fantasy set in Louisiana, was awarded the Norton Award, the Prometheus Award, and the Mythopoeic Award. Her recent collection of short fiction, Young Woman in a Garden, has appeared on PW’s list of Best SF of 2014. She has worked as a contributing editor for Tor Books and has co-edited the fantasy anthology The Horns of Elfland with Ellen Kushner and Donald G. Keller and The Essential Bordertown with Terri Windling, as well as two anthologies of Interstitial fiction, Interfictions 1, with Theodora Goss and Interfictions 2, with Christopher Barzak. She is Executive Editor of Interfictions Online: A Journal of Interstitial Arts.  She has taught writing at Clarion, Odyssey, and in the MA program in Children’s Literature at Hollins University.

Ellen Kushner is the author of Thomas the Rhymer (World Fantasy and Mythopoeic awards), the interconnected novels Swordspoint, The Privilege of the Sword (Locus Award, Nebula nominee), and The Fall of the Kings (written with Delia Sherman). She narrated these as audiobooks for Neil Gaiman Presents (Audie Award). With Holly Black, she co-edited Welcome to Bordertown. A co-founder of the Interstitial Arts Foundation, Ellen Kushner was also the longtime host of the national public radio show Sound & Spirit. She has taught creative writing at Clarion, the Odyssey Workshop, and is an instructor at Hollins University’s Children’s Literature M.F.A. program.  She lives in New York City with Delia Sherman and no cats whatsoever.

Besides being two of my favorite writers, they are also two of my favorite people. Warm, generous, and boundlessly enthusiastic about the arts and fiction and the interstices between them.

In short, we shall have such fun and learn so much at the 2015 Writing Excuses Retreat and Cruise.

Also, just a reminder that the window for submitting scholarship applications is still open.

 

Writing Excuses 10.8: Q&A on Character

It’s time for a Q&A on characters! The questions for this episode were provided by the attendees at the 2014 Out of Excuses Workshop and Retreat:

  • How do you have a character grow in power and/or expertise without needing to ridiculously overpower the villains?
  • How do you give a flawed character a growth arc without changing what originally made that character likable?
  • When you have a 1st person POV, how do you convey the emotional complexity of the non-POV characters?
  • How do you create an interesting an engaging story with a main character who is not the protagonist or hero of the story?
  • Is there an easy way to tell when the plot is driving the character instead of the other way around?
  • How do you write a character with egregiously offensive views without you, as the author, appearing to espouse or condone those views?
  • How do you write a character who has a belief that is different from your own?
  • What are some tips for writing a sympathetic antagonist?

 

Liner Note: The Tumbler to which Mary referred is Diversity Cross-Check.

Note: We offered to take questions on Story Structure during March, but we’ll be recording that episode two days from right now. Send us your story structure questions now! Do not delay! If you tweet them to @WritingExcuses they’ll pile up in a space where we can quickly find them.

Play

Sketch out the events before and after your dead-drop scene from last week and three weeks ago.

Furies of Calderon, by Jim Butcher, narrated by Kate Reading.

Writing Excuses 10.7: Who Are All These People?

Our character-focused month continues with an exploration of the challenges involved in building a cast for your story. Whether you’re building a large or small cast, you need to know why you’re putting these people in the book, whether they’re main characters, secondary characters, or spear-carriers, and what purpose each of them actually serves in your story.

Play

Pick one of the dead-drop characters from the exercise two weeks ago, and turn them into a secondary character. Now take one of the characters with whom they interacted, and write the same scene again, but from this new character’s POV.

The Splendour Falls, by Susanna Kearsley, narrated by Barbara Rosenblat

Writing Excuses 10.6: The Worldbuilding Revolves Around Me (“The Magical 1%”)

Max Gladstone joins us to talk about worldbuilding, and how many genre settings seem to revolve around whatever gifted, magical, or otherwise special sort of people our heroes and villains happen to be. Jedi, for instance. Consider, then, the plight of the “regular” people, like Han Solo.

We talk about how to tell whether or not this is problematic for the story you are telling, and how one might work with the trope in ways that make stories better.

Play

Think about the last time you lost at a game. What was the process of thought that led to your loss? Now, replicate that moment in the dramatic structure of the story, except the story isn’t about games.

Three Parts Dead, by Max Gladstone, narrated by Claudia Alick

Writing Excuses 10.5: What Do You Mean My Main Character is Boring?

Characters are the focus of the Writing Excuses Master Class during February, and we lead off with an exploration of a common problem: the main character is often the least interesting person in the story. And of course, in the process of exploring the problem, we look at the sorts of things you can do in order to solve them. It something each of the hosts has struggled with, and we talk about the solutions we’ve arrived at (insomuch as we’ve managed to solve the problem.)

Sidebar: In Season 9 we talked about character attributes using a slider metaphor. If you want to catch up on that, here are links to Episode 9.1 (the three-prong model), Episode 9.25(sympathy), Episode 9.26 (competence), and Episode 9.32 (proactivity.)

Play

Take three different characters and walk them through a scene. Convey their emotional states, their jobs, and their hobbies without directly stating any of those. The scene in question: walking through a marketplace, and they need to do a dead-drop.

Wolf Hall, by Hilary Mantel, narrated by Simon Slater