by Caren Gussoff I’ve sat in a lot of panels — and eavesdropped on a bunch of conversations — lately, in which genre writers have asked, debated, and/or mused about crossing over from SFF magazines and journals into straight-up literary fiction ones. Seems to many, and I agree, that the notorious snobbery and befuddlement of […]
This manual is intended to focus on the special needs of the science fiction workshop. Having an accurate and descriptive critical term for a common SF problem makes it easier to recognize and discuss. This guide is intended to save workshop participants from having to “reinvent the wheel” (see section 3) at every session.
A long-standing practice in book promotion is giveaways, particularly since book giveaways may help drum up reviews as well. You can conduct such giveaways in a simple fashion, asking people to leave a comment on a blog post or social network page in order to be entered.
LibraryThing, which was the first social book site, allowed users to enter their own books in order to catalog their library. People signed up immediately.
If your writing features a richly detailed universe, full of names, places, and historical events, you may want to explore using a wiki to chronicle it. A wiki’s structure allows intricate details to be recorded in a way that both preserves it in an easy to locate fashion but also allows devoted fans to browse the longtime story of your work.
There’s a difference between being a writer and wanting to be a writer. There are plenty of conversations about it, about whether payment, time spent, or day jobs land you on either one side or the other. But the consensus seems to be one major thing: writers write.
How can taking an improv acting/comedy lesson improve your writing? Well, for one thing, it forces you to think differently about story.
When I get professionally jealous it’s often an exciting thing. “Wow! I never thought of doing that. That’s amazing!” But excitement can turn into sad feelings…
Too often the burden of “genius” is placed on the fragile shoulders of individuals trying desperately to create, to live up to expectations, to outdo their own previous creations, and to essentially justify daring to call themselves artists (or writers, or musicians, etc.) to begin with.
It’s 2130 on a Saturday night, and I’m alone in my apartment, in front of my laptop.
I can’t shake the feeling that there’s some amazing party, filled with fascinating people, somewhere nearby. Artists and intellectuals and adventurers, all mixing and charging the air with stories. I wasn’t invited.
In this sequel to Where Oblivion Lives, a coded notebook containing the identities of Los Nefilim’s spies falls into enemy hands. Diago must nurture the daimonic song he has so long denied in order to save those he loves.
Alex is a writer, translator, & editor from Brooklyn, NY. Over 120 of his short stories have appeared in Analog, Nature, Strange Horizons, and other venues. His debut novel, Eridani’s Crown, is forthcoming in October 2019 from UFO Publishing.
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