attend many science-fiction conventions each year, and after I return I often report back here about what went on during those fun weekends. But this time, I've decided to do something different. This time, I'm going to report back from a convention before it happens. (Just consider it a form of time-traveling.) I'll be heading off to Philcon 2005 at the end of the week, and here is a peek at what I'll be blathering on about on my various assigned panels.
From Start to Finish; Friday, 8:00 p.m. (Writers tell how to go from the "idea" to the finished manuscript and share with us some of the pitfalls along the way.): For me, the first thing that has to happen to make a story grow is to find the plot in whatever it was that originally attracted me to the idea that was the catalyst. It's too easy to mistake a flamboyant character or inventive gadget or unusual setting for the story itself. All of these elements must intertwine in a manner that makes someone other than me care. The question to ask as the pieces come together is often "Who hurts?," though sometimes it is "Who wants?" or "Who needs?" The story that succeeds will answer those questions and follow them to logical conclusions.
Fiction Based on Dreams and Nightmares; Saturday, 12:00 p.m. (Some famous authors have been inspired by their subconscious.
Frankenstein, Dracula, and Dr. Jekyll and Mr. Hyde among many others are said to have come from dreams. How do you harness dreams to make fiction?): I've written stories based on dreams before, though not very often. My nightmares, when I have them, include zombies chasing me through decaying cities. And my fiction, including both of my Stoker-Award-nominated stories, often contains zombies. You might think that there is a direct line between dream and story, and that I write about the undead because they terrify me. Actually, zombies are present in both because they make great metaphors to both my conscious and subconscious minds. But in turning dream into story, the most difficult challenge is to make it matter to someone else, or it will be like showing strangers pictures of your kids.
Why America is Lost; Saturday, 2:00 p.m. (Panelists will discuss the resurgence of the fantastic on network TV
such as Threshold, Invasion, Lost, 4400, Surface and others.): Since the convention organizers came up with this topic, the first show on their list, Threshold, has been canceled, as has a second supernatural series, Night Stalker. But that doesn't invalidate the premise. Sparked by Lost, which has become appointment television, audiences are suddenly more interested in the fantastic. Can it last? Based on the number of pilots currently being crafted with an eye on the fall schedule, September could bring us another bumper crop.
I'd rather be in Philadelphia
Writing Mistakes I've Made; Saturday, 3:00 p.m. (Authors tell of the mistakes they've made and why they're still at
it.): Looking back, it seems to me that all of the errors of my writing career have come about due to over-eagerness. Sometimes this has resulted in stories submitted in haste in what were essentially unfinished states. Sometimes stories were submitted to (and published in) markets that were embarassing to behold. My biggest mistakes came when I managed to combine both. It is better to wait to send a story to the right market than to just any market, and it is even more important to make sure that the story is actually finished. If you believe that ars longa vita brevis, then patience truly is a virtue.
Fiction as Autobiography/Autobiography as Fiction; Sunday, 11:00 a.m. (Making the reader believe a story is in some way autobiographical can be a powerful literary technique, particularly in SF. Do we run the risk of confusing the author with the story when we do this?): The first thing to get out of the way is that though fiction often is autobiography, it is not the one that most people seem to think it is. If I choose to write about a cannibal (as I have done), it does not mean that I am one, just as I am not an alien, an archaeologist, a superhero or a space miner. That isn't how the correlation between life and art works. But if you find a writer writing many stories about love or loss or innocence, you can bet that these topics weigh heavily on his or her mind. If you pay attention, you will know what matters to any writer. Unlike with true autobiography, though, you just may never know why.
The Politics of Writing Groups; Sunday, 3:00 p.m. (Panelists discuss how to get the most out of a support group and the
pitfalls to avoid): I've been a member of a number of writing groups, and I have come to believe that motives matter just as much as talent. If writers join together for the good of the work itself, all will be well. If they come together primarily to discuss SF books and films, or to enjoy an evening of potluck, it might be fun, but it isn't a writing workshop.
And watch out for those who want you to critique their story but are somehow never there when it's time to critique yours, or who go for the easy putdown, or who would rather tell you how they would rewrite your story than
actually help you tell your story better.
Will I actually get a chance to say any of these things in Philadelphia, especially considering I'll be competing for mike time with other panelists? There's only one way for you to know for sure. I know where I'll be this weekend. Do you?
Scott Edelman started his trek to the editor-in-chief position at Science Fiction Weekly decades ago, when he began working as an assistant editor at Marvel Comics. Between these two positions, this four-time Hugo Award nominee in the category of Best Editor was the founding editor of the award-winning magazine Science Fiction Age, in addition to editing Sci-Fi Universe, Sci-Fi Flix and Satellite Orbit. Currently, he also edits SCI FI, the official magazine of the SCI FI Channel. His most recent short story appears in the latest issue of Nemonymous.
