by Juliette Wade
I love to use non-English languages in a story. To me, a foreign language behaves like a form of music – it creates mood and atmosphere for the readers who don’t understand it, and it further creates a layer of meaning for those readers who do understand it.
by Juliette Wade
I love to use non-English languages in a story. To me, a foreign language behaves like a form of music–it creates mood and atmosphere for the readers who don’t understand it, and it further creates a layer of meaning for those readers who do understand it.
by Deborah J. Ross I love to take conventional wisdom and turn it on its head, following the tradition of rules are made to be broken but first you have to learn them. Beginning writers make mistakes. At least, I did, and I don’t know anyone who’s gone on to a successful writing career who didn’t. At […]
by Caren Gussoff Note: Part One appears here: Lit Fic Mags for Spec Fic Writers 101. Part Two appears here: Lit Fic Mags for Spec Fic Writers 102: Is It Literary? ••• Now, you’ve decided to submit to a literary market for a particular story. You’re hip to the fundamental differences between lit mags and SFF mags […]
by Caren Gussoff Note: Part One appears here: Lit Fic Mags for Spec Fic Writers 101 This may seem totally obvious, but is actually worth a deeper dive: if you want to market your speculative fiction to literary markets, it has to be significantly literary. Literary markets, though they may protest that they do not like/accept/read […]
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 short story is like a pie because, first, you can do one relatively quickly. Second, everyone likes pie.
Third, with both short stories and pie, you can use the finest ingredients in the world and still come up with an inedible mess.
Don DeLillo wrote: “One truth is the swing of the sentence, the beat and poise, but down deeper it’s the integrity of the writer as he matches with the language.”
Can the same thing be said about a writer’s connection to the work of another?
In Silent Interviews, Samuel R. Delany said: “I begin, a sentence lover. I’m forever delighted, then delighted all over, at the things sentences can trip and trick you into saying, into seeing. I’m astonished—just plain tickled!—at the sharp turns and tiny tremors they can whip your thoughts across.
If you could go anywhere, where would you go? And what happens to the people you leave behind?
E.E. King is an award-winning painter, performer, writer, and naturalist. She’ll do anything that won’t pay the bills.
Ray Bradbury called her stories, “marvelously inventive, and deeply thought-provoking.”
