| Death is Easy, Comedy is Hard
|
|---|
| Thursday | 7:00pm | Bristol/Kent |
|
| | John M. Ford
|
| | Craig Shaw Gardner
|
- All of the principles are the same: timing, foreshadowing, characterization, etc. But, attempts at comedy fail more often, and seem to be harder to write well. Why?
|
| Listening Room - interviews and tapes of Gaiman, Yolen, etc.
|
|---|
| Thursday | 7:00pm | Exec. Board Room
|
-
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| The Great Ancient Tales, Epics, and Voyages: Fuel for Fantas
|
|---|
| Thursday | 7:00pm | Newport/Wash.
|
| | Aaron Allston
|
| | David M. Honigsberg
|
| | Darrell Schweitzer
|
| (m) | Susan Shwartz
|
| | Matthew Woodring Stover
|
- Odysseus and Jason traveled their known worlds. We traveled with them. And now, we use their voyages (and those of others of the ancient eras) to give us archetypes and ideas. Discuss these. Which are under- and/or over-used? What are the best examples in fantasy that mine the ancient world? Which don't work as well? Why?
|
| The Work of Howard Wandrei
|
|---|
| Thursday | 8:00pm | Bristol/Kent
|
| | Dwayne H. Olson
|
-
|
| The Evolution of Published Short Fantasy
|
|---|
| Thursday | 8:00pm | Newport/Wash.
|
| (m) | Paul DiFilippo
|
| | Mark Rich
|
| | Gordon Van Gelder
|
- This year marks the 50th anniversary of "Fantasy and Science Fiction" magazine. How has the material (and the market) changed in the last half-century? Does this indicate anything about our modern culture and/or expectations?
|
| Great Covers from the Pulp Magazines, and Well-known People
|
|---|
| Thursday | 9:00pm | Bristol/Kent
|
| | John Coker
|
- From Weird Tales and Magic Carpet to Amazing Stories and the Spicies, see beautifully reproduced cover artwork from the golden age of the pulps, as photographed from the archives of renowned collector Ben Jason. From Ackerman, Bloch and Clarke to Kyle, Moskowitz and Doc Smith, here are color and B&W slides representing a who's who of many of the people involved in Fantasy and Science Fiction during the 1930s - 1950s. Lots of surprises!
|
| State of Fantasy Today - The Best of the Year
|
|---|
| Thursday | 9:00pm | Newport/Wash.
|
| (m) | Charles N. Brown
|
| | Don D'Ammassa
|
| | Jo Fletcher
|
| | David G. Hartwell
|
- What is it, and why?
|
| The Merging of Literature and Art
|
|---|
| Thursday | 10:00pm | Bristol/Kent
|
| | Jill Bauman
|
| | Robyn Fielder
|
| (m) | Vincent Harper
|
| | Don Maitz
|
- Does one affect the other, or can they mutually (and simultaneously) interact? What goes into choosing a cover for a book (or, a book for a cover)? How do art and literature interpret each other? What are some art inspirations for authors, and literary inspirations for artists? Is the merging easier, more difficult, or at all different in the fantasy vs. horror subgenres?
|
| Poetry Jam
|
|---|
| Thursday | 10:00pm | Exec. Board Room
|
| | Rain Graves
|
| | Alexandra E. Honigsberg
|
| | Mark McLaughlin
|
-
|
| Does Fantasy Prepare People for Change?
|
|---|
| Thursday | 10:00pm | Newport/Wash.
|
| | Scott Edelman
|
| (m) | Laurie Edison
|
| | Katharine Eliska Kimbriel
|
- Fantasy can be sufficiently detached from current life to be regarded as an opiate for the status quo, as can some plot forms which essentially run in a circle. So, can (and how can?) and which sorts of fantasy might actually effectively prepare people for change?
|
| Fantasy and Horror in Films and Other Media
|
|---|
| Thursday | 11:00pm | Bristol/Kent
|
| | Peter Crowther
|
| | Carla Montgomery
|
| (m) | Steven Sawicki
|
| | Stanley Wiater
|
- Is there really a boom? Why/not? If so, what and why? Talk about the differences between writing for print publication and writing for audio-visual production. What does it take to break in, and what does it take to stay in?
|
| Millenial Issues: The Future of the Genre
|
|---|
| Thursday | 11:00pm | Newport/Wash.
|
| | David B. Coe
|
| | Donald Maass
|
| (m) | Robert J. Sawyer
|
| | Jacob Weisman
|
- Are fantasy and horror merging, or diverging, or (even) disappearing from the market? What's with the dread "mid-list crisis"? What will be the role of electronic publishing, small presses, or who-knows-what in the next century?
|
| Creativity Workshop (for Experienced Writers) (2 hours)
|
|---|
| Friday | 9:00am | 550B
|
| | Judy McCrosky
|
-
|
| What's Your Agenda? - Subtext in Literature
|
|---|
| Friday | 9:00am | 551
|
| | Kay Kenyon
|
| | Louise Marley
|
| (m) | Janny Wurts
|
| | Doselle Young
|
- How do you get your agendas in, and keep the story going strong? Do you really have to be a Mason to understand which character in the Magic Flute is the Catholic Church? How obvious should it be (or, does it matter?) before the story's believability is shot? How can writers (or readers?) avoid taking their preconceptions with them? Their backgrounds (life, beliefs, prejudices, obsessions) shape the tale after all, don't they?
|
| Odyssey Workshop
|
|---|
| Friday | 9:00am | 553
|
| | Jeanne M. Cavelos
|
-
|
| Speech
|
|---|
| Friday | 9:30am | 553
|
| | Brian Froud
|
-
|
| True Grit: Quests are Hard, and War is Hell!
|
|---|
| Friday | 10:00am | 552
|
| | Joe Haldeman
|
| (m) | Anthony R. Lewis
|
| | Ian McDowell
|
| | Robert Silverberg
|
| | David Weber
|
- Is it a prerequisite that the quest should ultimately succeed- and, would we feel cheated if it did not? Furthermore, why do so many quests look easy? Why are battles bloodless, and long voyages so much fun? How can you present reality, and still keep readers entertained (or, at least, engaged)?
|
| Libraries and their Impact on Fantasy (30 minute speech)
|
|---|
| Friday | 10:30am | 553
|
| | Fred Lerner
|
- Have libraries influenced the pathways of fiction-especially genre fiction (and particularly, fantasy)? How have changes in public appreciation and use of books affected fantasy? Has this been a good or bad thing? How do today's libraries impact the field?
|
| Reading
|
|---|
| Friday | 11:00am | 550B
|
| | Michael Kandel
|
-
|
| The Changing of the Dark: How Has Horror Evolved?
|
|---|
| Friday | 11:00am | 551
|
| | Peter Crowther
|
| (m) | Les Daniels
|
| | Craig Shaw Gardner
|
| | Stephen Jones
|
- Vampires have gone from being deadly creatures of horror to fascinating lovers; Frankensteins these days seem downright sweet! What is going on here? What shocked the Victorians scarcely raises our eyebrows. Then again, modern horror's inclusion of so much explicit blood and guts could just be a marketing refocus for 14-35-year-old males....or, at least we can hope? (Yes? Or, why????)
|
| Critics and Reviewers: Roles, Rights, and Responsibilities
|
|---|
| Friday | 11:00am | 553
|
| | Jonathan Fesmire
|
| | Justine Larlabestier
|
| | Ruth Nestvold
|
| (m) | Rodger Turner
|
- Are there right ways and wrong ways to do the job properly?
|
| Reading
|
|---|
| Friday | 11:30am | 550B
|
| | Jack Dann
|
-
|
| Reading
|
|---|
| Friday | 12:00 n | 550B
|
| | Greer Gilman
|
-
|
| Fantasy, Horror, Current Events...and Moral Responsibility?
|
|---|
| Friday | 12:00 n | 552
|
| | Trey Barker
|
| (m) | Don D'Ammassa
|
| | David G. Hartwell
|
| | Patrick Nielsen Hayden
|
| | Joel Ross
|
- So, you write a book about a serial-killer-vampire, and find out that a disturbed 14-year-old kid has decided to play out that fantasy.....Arrgh!!!? Talk about this, and related issues. Where does the buck stop?
|
| The Cartography of Fantasy: Mapmaking for Imaginary Lands
|
|---|
| Friday | 12:00 n | 553
|
| (m) | Lynn Flewelling
|
| | John M. Ford
|
| | Robert Silverberg
|
- Ah, the satisfaction and excitement of looking at the map and thinking about the exciting places to visit. And then, the thrill of following the hero's journey mile after torturous mile, over the Misty Mountains, etc.! Well, that's how the reader might use the map; how about the writer? Does the map create the mindscape, or vice versa? Additionally, some fantasy is (essentially) mapmaking-blazing trails for the readers to follow into unknown lands, and sometimes leading them through the maze towards new discoveries.
|
| Reading
|
|---|
| Friday | 12:30pm | 550B
|
| | Ian McDowell
|
-
|
| Reading
|
|---|
| Friday | 1:00pm | 550B
|
| | Martin Mundt
|
-
|
| How Does the Magic Work?
|
|---|
| Friday | 1:00pm | 551
|
| | Charles de Lint
|
| (m) | Thomas Harlan
|
| | J. Gregory Keyes
|
| | Patricia McKillip
|
- Will the modern reader prefer magic that doesn't have orderly rules, or that seems to? Are there laws to magic, and are they consistent? Is there anything like the Three Laws of Robotics for fantasy magic? What are your rules of magic-and why do you use them?
|
| Knowing Too Much: How Can a Sophisticated Reader/Writer Enjo
|
|---|
| Friday | 1:00pm | 553
|
| | Nancy C. Hanger
|
| | Michael Kandel
|
| (m) | Mark L. Olson
|
| | Teresa Nielsen Hayden
|
- "Willing suspension of disbelief"? Nah....there must be more. What is it? Are there any tricks that a reader/writer can use to help?
|
| Reading
|
|---|
| Friday | 2:00pm | 550B
|
| | Walter Jon Williams
|
-
|
| Different Takes on the Same Story: The Other Point of View
|
|---|
| Friday | 2:00pm | 552
|
| | Kelly Link
|
| | Kristine Kathryn Rusch
|
| (m) | Nancy Springer
|
| | Terri Windling
|
- Some fantasy (?) characters-Modred, The Wicked Witch, The Stepmother, etc.-have a bad press, but may have a particularly interesting story. Don't you agree? Why do we embrace alternate and looking-glass versions of fantasy stories? Why do we love to take the part of the other guy? As our experience of the world broadens, it becomes less satisfying when the bad guy has no motivation other than to be bad-so the urge to tell the story from another's point of view becomes irresistible to some of us. Why is it so exciting to take a tale which has touched us deeply in the past, and explore it more, see its ramifications, and see what happens to the original tale when it's looked at from other angles? Is it just perversity, or is it because the "other" represents alternatives to the assumed values of our culture, which are inescapable (even in fiction).
|
| The Character of Death
|
|---|
| Friday | 2:00pm | 553
|
| | Jo Fletcher
|
| | John M. Ford
|
| | Katharine Eliska Kimbriel
|
| (m) | Stanley Wiater
|
- Death personified appears in a number of works. Just who is this character, and why do writers use him/her/it? Can Death be sympathetic? (YES.)
|
| Reading
|
|---|
| Friday | 2:30pm | 550B
|
| | Kij Johnson
|
-
|
| Reading
|
|---|
| Friday | 3:00pm | 550B
|
| | Patrick O'Leary
|
-
|
| Using Real Places as Fantasy Settings
|
|---|
| Friday | 3:00pm | 551
|
| | Charles de Lint
|
| | Kathleen Ann Goonan
|
| | Guy Gavriel Kay
|
| (m) | Madeleine Robins
|
| | S.M. Stirling
|
- Most real places have the potential for extraordinary things to happen-so, are there advantages in setting fantasy to a real place? Of course! It frees you from having to make up the rules and the setting; it allows you to look more closely than you might ordinarily do at the setting, and find magic in the interstices of a place the reader might have hitherto considered very ordinary indeed; and it allows you to use the reader's own expectations and cultural assumptions, either to create the place in his/her mind, or blow it up. What are the pitfalls (well, call them challenges) of using real settings? And, given the advantages listed, why aren't more fantasies given real world settings?
|
| When Is Humor NOT Funny?
|
|---|
| Friday | 3:00pm | 553
|
| | Esther Friesner
|
| (m) | Laura Anne Gilman
|
| | Karen Haber
|
| | Ray Vukcevich
|
- When does satire become character assassination? When does the fun go from edgy to nasty? What makes the difference? How can the reader distinguish between anguish and mean-spiritedness? How does crossing the line help (or hurt) the story? (And is this deliberate?)
|
| Reading
|
|---|
| Friday | 4:00pm | 550B
|
| | Sean Stewart
|
-
|
| The Image of "Home" in Fantasy
|
|---|
| Friday | 4:00pm | 552
|
| | Kara Dalkey
|
| | Patricia McKillip
|
| | Richard Parks
|
| (m) | Tamora Pierce
|
- Is the voyage a circle? Do you come home at the end of the voyage? Is it true that "the stranger who comes home does not make himself at home, but makes home strange" (Rilke)? What actually happens when you come home-and can you, in fact, really come back home after your quest? But, consider: what is a "home" anyway, and how does the background of the writer (life, beliefs, prejudices, obsessions) shape the kinds of choices he/she makes in writing about journeys and homecomings? Reflect on the many different ideas of home-a narrow constricted place to leave as soon as possible; a place revisited by the voyagers where they discover (happily and/or to their dismay) they no longer belong or where they will have to create a new place for themselves; a place the voyager returns to at the end that has changed (for better or worse); a place they discover is still home, and a place some voyagers find they never want to return to.... If we're discussing voyages, shouldn't we also discuss the departure point/destination?
|
| Fantasy Landscapes of New England
|
|---|
| Friday | 4:00pm | 553
|
| (m) | S.James Blackman
|
| | Jane M. Lindskold
|
| | Nick O'Donohoe
|
| | Faye Ringel
|
- New England has a long and rich legacy of fantasy and supernatural tales. What are some of the high points of this legacy, and why New England? Discuss fantasy and horror in New England, from pre-colonial times to modern practitioners-why is NE so terribly conducive to reflecting the author's inner obsessions?
|
| Reading
|
|---|
| Friday | 4:30pm | 550B
|
| | Elizabeth Hand
|
-
|
| Nightmares and Dreams
|
|---|
| Friday | 5:00pm | 550B
|
| | Ilsa J. Bick
|
| | Heinz Insu Fenkl
|
| (m) | Gregory Frost
|
| | Graham Joyce
|
| | Dean Wesley Smith
|
- What are they, really, and how do they relate to fantasy? What archetypes, characters and stories appear in our dreams and nightmares, and how does this relate to (and inform) our cultural backgrounds? How do we use our subconscious in creating or appreciating fantasy?
|
| Historical Fantasy
|
|---|
| Friday | 5:00pm | 551
|
| | Fiona Avery
|
| | N. Taylor Blanchard
|
| (m) | Leigh Grossman
|
| | Sean Russell
|
| | Delia Sherman
|
- To tell a good story, you sometimes have to jiggle the facts. Sometimes the history wins, and sometimes the fantasy wins. However, the advantages of using a fantasy set in an historical setting are similar to those of using a real-world setting: again, you're freed from certain kinds of invention and can give more attention to character, plot, and using the known setting effectively; you can upset a reader's assumed knowledge about the events or historical characters you're using....Is this good or bad? And, for a thorough writer, there's all that research which can be heaven or hell... Now-how do alternate histories, and the histories of alternate/fantastic worlds, relate to our own views of history (which are also constantly rewritten)? Are fantasy and history created through the same process of spinning events and perceptions into myth? What's the relationship between fantasy and "reality"-based history?
|
| Reading
|
|---|
| Friday | 5:00pm | 553
|
| | Charles de Lint
|
-
|
| Evolution of an Artist Turning Slightly Digital
|
|---|
| Friday | 9:00pm | Bristol/Kent
|
| | Jael
|
-
|
| Artistic Influences (a Slide Show)
|
|---|
| Friday | 10:00pm | Bristol/Kent
|
| | Charles Vess
|
-
|
| A Guide to the New Gothic Genre
|
|---|
| Friday | 10:00pm | Newport/Wash.
|
| | Sephera Giron
|
| | Paula Guran
|
| (m) | Nancy Kilpatrick
|
| | Thomas Roche
|
- Doom. Gloom. Death. Destruction. Darkness (and despair!). What.....why....and how long can it possibly last? (Alas! <sigh>)
|
| Slide Show
|
|---|
| Friday | 11:00pm | Bristol/Kent
|
| | Terri Windling
|
-
|
| Vamps and Vampires: Looking at the Monsters We Desire?
|
|---|
| Friday | 11:00pm | Newport/Wash.
|
| (m) | Ginjer Buchanan
|
| | Les Daniels
|
| | Ellen Datlow
|
| | Christopher Golden
|
| | Yvonne Navarro
|
- In the Middle Ages they tore your throat out; in the Victorian Age, death was sex, so ambiguity allowed some extra thrills. Now, in our....differently....repressed age, vampires are both openly sexy and sympathetic. Is our culture growing up, or just getting very very kinky?
|
| Slide Show
|
|---|
| Friday | 12:00 m | Bristol/Kent
|
| | Ron Walotsky
|
-
|
| Speculative Erotica
|
|---|
| Friday | 12:00 m | Newport/Wash.
|
| | Thomas Roche
|
| | Mandy Slater
|
| | Dave Smeds
|
| (m) | Cecilia Tan
|
| | Connie Wilkins
|
- Explore the edges of sexuality....the displacement of desire and repression, sex and power relationships, trans-sexual or trans- species (or simply transcendent?) sex...or just talk about sex, death, and rock and roll...
|
| Creativity Workshop (for Beginning Writers) (2 hours)
|
|---|
| Saturday | 9:00am | 550B
|
| | Judy McCrosky
|
-
|
| Why Adults Love YA Fantasy
|
|---|
| Saturday | 9:00am | 552
|
| | Robert Alexander
|
| | Kathryn Cramer
|
| (m) | Julie Czerneda
|
| | Keith R. A. DeCandido
|
| | Christie Golden
|
| | Tamora Pierce
|
- Fantasy taps into something basic about being human in our current society, and the myths and archetypes are nearer to the surface in YA Fantasy. Look at the success of Star Wars and Harry Potter among adults! We enjoy entering a world where there is a clear-cut division between good and evil, where women as well as men are strong, where one's success or failure depends on one's own abilities. In today's world, we so often feel out of control, and there's little we can do to fight back against injustice. But, in a fantasy, we can become someone who does fight for what he or she believes is right, and this fighting is done in a direct way. This is tremendously appealing to many adults caught up in today's complicated life.
|
| Poetry Workshop and Discussion (2 hours)
|
|---|
| Saturday | 9:00am | 553
|
| | Ann Chamberlin
|
| | Scott E. Green
|
| (m) | David Lunde
|
-
|
| There's Something About Harry...
|
|---|
| Saturday | 10:00am | 552
|
| | Laura Anne Gilman
|
| | Jaime Levine
|
| | Shawna McCarthy
|
| (m) | Priscilla Olson
|
- What makes the Harry Potter books work for so many people-just why are they so appealing and so successful? Why aren't similar series as successful? (Is it really just marketing?) Can this success be used as an opportunity to entice a new generation of fantasy readers?
|
| Success and Failure in the Portrayal of Evil
|
|---|
| Saturday | 11:00am | 551
|
| (m) | John R. Douglas
|
| | Graham Joyce
|
| | Adam Nichols
|
| | Patrick O'Leary
|
- Does evil just for evil's sake, work? How (and why?) must an evil character be motivated? How can having good motivations for doing something evil make the story better? But-by giving the villains such redeeming qualities, are we in danger of blurring the edges too much, confounding our ability to distinguish between good and evil? (And, in fact, is there a problem with setting up such a dualistic argument?)
|
| Pricking the Bubble: Cliches, Anachronisms, and Other Proble
|
|---|
| Saturday | 11:00am | 553
|
| | Lynn Flewelling
|
| (m) | Delia Sherman
|
| | S.M. Stirling
|
| | Mackay Wood
|
- The ancient mariner sets sail on the Mediterranean, eating fried potatoes for breakfast-Oops! A common problem, no? Talk about research, about messing with history, about accuracy and anachronism-and when "mistakes" could serve an artistic purpose.
|
| Reading
|
|---|
| Saturday | 12:00 n | 550B
|
| | Keith R. A. DeCandido
|
-
|
| Rules of Engagement
|
|---|
| Saturday | 12:00 n | 552
|
| | Samuel R. Delany
|
| | John M. Ford
|
| (m) | Teresa Nielsen Hayden
|
- Ford has said that "Chip Delany...has proposed that when people say 'I can't read science fiction,' they are expressing not a prejudice but a literal fact." What's the truth? Is it also true for fantasy? How does a reader decode the varied types within the genre?
|
| The Middle Class in Fantasy
|
|---|
| Saturday | 12:00 n | 553
|
| | Eleanor Lang
|
| | Madeleine Robins
|
| | Susan Shwartz
|
| (m) | Rick Wilber
|
- Butcher, Baker, Candlestick Maker? Real people have jobs-why don't so many characters in fantasies? (Right, it's a fantasy, but still!) At any rate, most fantasy tends to ignore the middle class, who, in fact, keep the world going. Besides the work aspect, class plays an important though often unremarked role. Some of this is the reader/writer's wish fulfillment: we feel we lead peasant lives, and want to try on the life of the Duke, the Princess, etc.-even if (in the end) we learn that it's just as hard to live an honorable life when you sleep on satin sheets. But much fantasy tends to break down just that way: peasant or peer. And much fantasy tends to condescend, just a little, to the middle class, that poor group of people who are neither picturesquely rustic nor the elegantly upper class, but merely comfortable. Why do people buy into this peasant/peer dichotomy-and why are writers and artists almost always portrayed as peasants or nobility? When you consider that most writers, however struggling, are in fact from the middle class, it begins to seem like a weird form of self-loathing.
|
| Reading
|
|---|
| Saturday | 12:30pm | 550B
|
| | Guy Gavriel Kay
|
-
|
| Slide Show
|
|---|
| Saturday | 1:00pm | 551
|
| | Diane Dillon
|
| | Leo Dillon
|
-
|
| The Heroine's Journey
|
|---|
| Saturday | 1:00pm | 553
|
| (m) | Ann Chamberlin
|
| | Ru Emerson
|
| | Elizabeth Hand
|
| | Kim Headlee
|
- The hero finds himself rejected/discontented with society, leaves on a quest, returns-and takes the place of the father in the patriarchy. The heroine can't do this successfully, unless she swallows the patriarchy's values hook, line, and sinker. If she does, she perpetuates the values that exploit her. What's a writer to do?
|
| Reading
|
|---|
| Saturday | 1:30pm | 550B
|
| | Jan L. Jensen
|
-
|
| Reading
|
|---|
| Saturday | 2:00pm | 550B
|
| | Kelly Link
|
-
|
| Lovecraft in the Age of Exploration
|
|---|
| Saturday | 2:00pm | 551
|
| (m) | Paul Giguere
|
| | Mark Rich
|
| | Steve Saffel
|
| | Darrell Schweitzer
|
- Much of Lovecraft's writing was heavily influenced by events of a time when great explorers were opening up new frontiers. Lovecraft not only incorporated the sense of awe inspired by such explorers, but he made an attempt to represent the scientific details as accurately as possibly-and in some ways, was one of the first writers of hard sf! Discuss.
|
| The Story as Quest/The Quest as Story
|
|---|
| Saturday | 2:00pm | 552
|
| (m) | Jeffrey Ford
|
| | Patricia McKillip
|
| | Sean Russell
|
| | Robert Silverberg
|
| | Walter Jon Williams
|
- The quest is a wonderful structure for a novel. It can also be considered as the central "journey" archetype. Quests may be voyages from adolescence to maturity and responsibility; from ignorance to knowledge; from dead despair of the past into hope for the future. What is the quest for? What is the hero really supposed to find? What happens if the hero gets stranded on the way? What are your thoughts on the "quest" and how have you used the quest in your work-to help your characters and/or yourself?
|
| Reading
|
|---|
| Saturday | 2:30pm | Reading room
|
| | Mark Anthony
|
-
|
| Reading
|
|---|
| Saturday | 3:00pm | 550B
|
| | Thomas Harlan
|
-
|
| Things You Should Have Read (Fiction and Non-fiction)
|
|---|
| Saturday | 3:00pm | 551
|
| (m) | Mark L. Olson
|
| | Patrick Nielsen Hayden
|
| | Jeff VanderMeer
|
| | Michael J. Walsh
|
| | Henry Wessells
|
- The fiction and non-fiction that defines the field, and helps the reader appreciate all that has come (and will be coming) after.... What should be on each reader's/writer's (would this be the same?) reading list? What makes these works so important?
|
| The Horror of Marketing - The Marketing of Horror?
|
|---|
| Saturday | 3:00pm | 553
|
| | Jeanne M. Cavelos
|
| | Stephen Jones
|
| | John Maclay
|
| | David Marshall
|
| (m) | James Minz
|
- Is there a difference in marketing horror compared to other forms of fantasy? Is it easier or harder? What are effective strategies (and why do they work?) Have marketing strategies changed significantly in recent years (and, if so, how)?
|
| Reading
|
|---|
| Saturday | 3:30pm | 550B
|
| | Joe Haldeman
|
-
|
| Shadow of the Torturer: The Writer as God
|
|---|
| Saturday | 4:00pm | 552
|
| (m) | Anne Harris
|
| | Tina L. Jens
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| | Kij Johnson
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| | Sean Stewart
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| | Janine Ellen Young
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- Do you abuse your characters? Do you do this to further the story, or because it's necessary to make the story more believable...or, to exorcise your own demons? Writing's potential for self-revelation may be its most powerful and terrifying aspect. How do you cope when your story is telling you something you don't want to know?
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| Crossing the Genres: SF, Fantasy, and Horror
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| Saturday | 4:00pm | 553
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| | Ellen Asher
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| | Chaz Brenchley
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| | Ellen Datlow
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| (m) | Paul Levinson
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| | Sarah Zettel
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- Is it more difficult to sell work that crosses the boundary-and, if so, why? The boundary is hazy and artificial anyway...are people concerned that the pure genres will be contaminated, or what? When does the writer enter the spaces between science fiction and fantasy and horror? What are the differences of intent, and of treatment of the material-in short, is the "approach" different in each subgenre?
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| Reading
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| Saturday | 4:30pm | 550B
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| | Kara Dalkey
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| Crossing the Genres, part 2 - Into the Mainstream
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| Saturday | 5:00pm | 550B
|
| | Charlene Brusso
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| (m) | Bradley Denton
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| | Guy Gavriel Kay
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| | Kristine Kathryn Rusch
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| | William R. Trotter
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- In recent years (especially) the rate at which SF and fantasy have been crossing over into the mainstream has been accelerating. How do we convince folks who aren't familiar with the genre that many ideas which the "literary" end of things regards as new and ground-breaking are simply common metaphoric fantasy tropes? (Or, in other words, that fantasy isn't a ghetto playground but can embrace many styles and stories?) Is there a difference between fantasy as a literary category and fantasy as a marketing category? To further complicate the issue, not all fantasy is marketed as such, and not all things that are marketed as fantasy really fit the genre. Why is this? Should this matter when we discuss the literature?
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| Coyote and Others
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| Saturday | 5:00pm | 551
|
| | Charles de Lint
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| | Heinz Insu Fenkl
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| (m) | Jane M. Lindskold
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| | Josepha Sherman
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| | Terri Windling
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- Trickster deities are common in a wide range of religions and folk traditions, and (increasingly) fantasy stories. Interestingly, there are also similarities in the stories told about them. Discuss some of these. Did Lucifer start life as a trickster? If so, when did he cross the line into evil? Additionally, most trickster deities seem to be (rather lusty) males. What's going on there?
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| Reading
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| Saturday | 5:00pm | 553
|
| | Patricia McKillip
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| The Secret Museum: The Lost Collections of the Boston Museum
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| Saturday | 10:00pm | Room B
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| | Cortney Skinner
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- Little did Courtney know, when he opened that firsttrunk in his father's attic, that he'd be unearthing the past of a long- forgotten museum and its strange collections. Through documents and artifacts recently uncovered and displayed on an interactive website, this new project will invite the public to help view, investigate and discover the centuries-old history of this ancient institution, and its odd and fantastic history.
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| Mining Shakespeare, Ballads, and the Oral Tradition
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| Saturday | 10:00pm | Kent
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| | Grania Davis
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| | Debra Doyle
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| | David Drake
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| | Gregory Feeley
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| (m) | Greer Gilman
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- Many of our ideas do not come from Schenectady (though some do come from Ithaca....) What do we owe the popular sources of long- ago-and-far-away? Where do Shakespearian themes show up in fantasy literature? Themes from ancient ballads, or old wives' tales. Why does some of this resonate with us far more than others? Discuss, and give some examples of how we've "borrowed" ideas from the sources mentioned above.
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| Storytelling:Demo and Discussion
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| Saturday | 11:00pm | Room B
|
| | Barbara Chepaitis
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| Music and Magic
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| Saturday | 11:00pm | Kent
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| | Charles de Lint
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| | Susan J. Kroupa
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| | Ellen Kushner
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| (m) | Suford Lewis
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| | Steven Piziks
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- So many traveling minstrels are often magicians as well- and the Latin for "sing" also gave us "incantation" and "enchantment" Well, why is there so much music in magic fantasy? How can musical structures lend themselves to providing a frame for spellcasting? Does music have more (magic-supporting?) structure than other creative arts? Why is it that so many writers have musical connections? Is it that music and magic are two of the oldest and most pervasive mysteries that help us contemplate the unknown? For those who use music in their works-does the music drive the writing, or the writing the music?
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| Cabaret
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|---|
| Saturday | 12:00 m | Newport/Wash.
|
| | Tina L. Jens
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-
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| Looking at Borges (45 minutes)
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|---|
| Sunday | 9:00am | 551
|
| | Jeffrey Ford
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| | Esther Friesner
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| Critters - in Fact and Fantasy
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|---|
| Sunday | 9:00am | 552
|
| | Susan Dexter
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| | Doranna Durgin
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| | Bob Eggleton
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| (m) | Sarah Zettel
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- How are animals in fantasy stories misunderstood (or merely misused)? How can knowing a bit of biology (or, at the very least, animal behavior) help make a story more interesting and more believable? What are some of the worst mistakes people make when dealing with critters-from dragons to hippogriffs, or even horses, dogs, and chickens? (Chickens?!)
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| Scams and Scandals, Pitfalls and Traps
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|---|
| Sunday | 9:00am | 553
|
| | James D. Macdonald
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| (m) | Victoria Strauss
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| | Lois Tilton
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-
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| Focus on Avram Davidson (45 minutes)
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|---|
| Sunday | 9:45am | 551
|
| | Gregory Feeley
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| (m) | Michael Kandel
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| | Jacob Weisman
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| | Henry Wessells
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| Fantasy Art
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|---|
| Sunday | 10:00am | 552
|
| | Paul Barnett
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| | Alan M. Clark
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| (m) | Vincent Di Fate
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| | Diane Dillon
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| | Leo Dillon
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- What's the history of the field, and what's happening in it today? How has fantasy art reflected cultural mores and changes through the ages? What are some of the artistic influences on modern fantasy art, and what directions does the field seem to be taking for the future?
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| All About Agents
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|---|
| Sunday | 10:00am | 553
|
| | Susan Allison
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| | Paul Levinson
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| (m) | Donald Maass
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| | Steve Pagel
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| | Susan Ann Protter
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- Are they necessary? How do you find the right one? What do you have to know to keep from getting scammed-and how can they actually protect you (if you're lucky)?
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| Storytelling - a Workshop
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|---|
| Sunday | 10:30am | 550B
|
| | Barbara Chepaitis
|
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| Grow Old Along With Me: Aging Your Characters
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|---|
| Sunday | 11:00am | 551
|
| | Jack L. Chalker
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| (m) | Karen Haber
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| | Ellen Kushner
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| | Patricia McKillip
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| | Nancy Springer
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- Why get stuck in adolescence? Middle age is another quest/rite of passage, and so is old age/death. How do you help your characters grow old (gracefully, or not)? How do you work with those parts of the voyage through life in your work? Or, are we being merely mercenary-to sell to an aging market segment?(Or, because we grow old, we grow old...?)
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| Quests of Horror?
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|---|
| Sunday | 11:00am | 552
|
| | Denise Bruchman
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| (m) | Paula Guran
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| | Nancy Kilpatrick
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| | Jeff VanderMeer
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- Are there horror "quests?" If so, how do these dark voyages differ from the more usual ones? Is it true that they celebrate catharsis over redemption, and escapism over enlightenment? And, if not, what are they about? Discuss, and give examples.
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| Reading
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|---|
| Sunday | 11:00am | 553
|
| | Samuel R. Delany
|
-
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| Reading
|
|---|
| Sunday | 11:30am | 550B
|
| | John M. Ford
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-
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| Looking at the Wild Man - from Enkidu to Mad Max, etc.
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|---|
| Sunday | 12:00 n | 551
|
| | Barbara Chepaitis
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| | Anne Harris
|
| | J. Gregory Keyes
|
| | Anya M. Martin
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| (m) | Josepha Sherman
|
- From the earliest fantasy in Gilgamesh, the meeting of the outsider and civilization has always been of interest. Is this a reaction of fear? Of a desire to absorb the desirable traits that civilized society has "lost"? Of jealousy, or simply exogamy, or...? Whose viewpoint should the story represent? Gilgamesh or Tarzan? And are these "wild men" macho men or models of pre-patriarchal manhood? Since the wild man is often "domesticated" by having sex with a woman who teaches him to be civilized, what does this say about cultures?
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| Beyond the Black Gate: Heroic Voyages to Hell and Back (from
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|---|
| Sunday | 12:00 n | 552
|
| | Samuel R. Delany
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| (m) | David Drake
|
| | Gregory Frost
|
| | Faye Ringel
|
- Discuss the classic voyages and examine what they mean and why they're typical to fantasy/horror/quest stories. How does this "master myth" differ as a woman's vs. a man's voyage (I.e., Isis vs. Orpheus)? What do the characters usually encounter on such voyages (why?) and how can you make these characters, these encounters, and the voyage itself new and compelling?
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