More songs about buildings but not food
Jul. 13th, 2008 10:47 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
giantslothHere's me in my now-rare guise as architecture journalist, typing about a big red house.
And for those of you who plan to attend Readercon 2008, here's my schedule there. I hadn't planned on doing any programming at all, but:
Friday 12:00 Noon, ME/ CT: Discussion (60 min.)
The Sycamore Hill Conspiracy, or How Bad Stories Go Good. Gregory Frost (L) with Richard Butner, F. Brett Cox, Andy Duncan, Theodora Goss, Gavin J. Grant, James Patrick Kelly, John Kessel, Jonathan Lethem, Michaela Roessner, Christopher Rowe, _et al_
How did one particular peer workshop started by John Kessel in Raleigh, NC way back in 1985 produce remarkable and frequently award-winning fiction? What's it like to workshop a story when everyone in the room is an invited author of note? Does a workshop at this level use the standard Clarion techniques, or does it have its own style? Veterans of the Sycamore Hill conference tell all. [Since there are far too many SycHillers at the Con to fit on a panel, the plan is to have a bunch of them sit in a half-circle in front of the panelist's table and have plenty of contributions from the audience.]
Friday 8:00 PM, ME/ CT: Panel
F&SF + MFA > 0. Richard Butner, Andy Duncan, James Patrick Kelly (L), John Kessel, Sandra McDonald, Michaela Roessner
We all know that writing f&sf is taught at specialized workshops like Clarion, but you can also go to school and get an MFA in creative writing in the genre. James Patrick Kelly and his frequent collaborator John Kessel have taught writing at this level, and they're joined by four of their students. How does teaching students who are already accomplished writers differ from teaching the newbies at Clarion? Why devote so much time to polishing your craft in an academic setting when most of your peers are managing without it?
And for those of you who plan to attend Readercon 2008, here's my schedule there. I hadn't planned on doing any programming at all, but:
Friday 12:00 Noon, ME/ CT: Discussion (60 min.)
The Sycamore Hill Conspiracy, or How Bad Stories Go Good. Gregory Frost (L) with Richard Butner, F. Brett Cox, Andy Duncan, Theodora Goss, Gavin J. Grant, James Patrick Kelly, John Kessel, Jonathan Lethem, Michaela Roessner, Christopher Rowe, _et al_
How did one particular peer workshop started by John Kessel in Raleigh, NC way back in 1985 produce remarkable and frequently award-winning fiction? What's it like to workshop a story when everyone in the room is an invited author of note? Does a workshop at this level use the standard Clarion techniques, or does it have its own style? Veterans of the Sycamore Hill conference tell all. [Since there are far too many SycHillers at the Con to fit on a panel, the plan is to have a bunch of them sit in a half-circle in front of the panelist's table and have plenty of contributions from the audience.]
Friday 8:00 PM, ME/ CT: Panel
F&SF + MFA > 0. Richard Butner, Andy Duncan, James Patrick Kelly (L), John Kessel, Sandra McDonald, Michaela Roessner
We all know that writing f&sf is taught at specialized workshops like Clarion, but you can also go to school and get an MFA in creative writing in the genre. James Patrick Kelly and his frequent collaborator John Kessel have taught writing at this level, and they're joined by four of their students. How does teaching students who are already accomplished writers differ from teaching the newbies at Clarion? Why devote so much time to polishing your craft in an academic setting when most of your peers are managing without it?
