In Shadows

More convention goodness…  Notes follow the panel descriptions.

We Don’t Need Another Hero

From Kimball Kinnison to Dylan Hunt, strong-thewed heroes have strode the spaceways, protecting the galaxy from evildoers.  But the trend in contemporary literature is shifting from “heroes” to “protagonists” to “viewpoint characters”.  What are the ways that main characters can be used in science fiction?  How can ensembles and event-based plots build great story lines and lovable groups?

Sheila Simonson, Mary Robinette Kowal, phyllis irene radford, Jean Lamb, Michael A. Martin

- a tragic, dramatic departure from the norm is what creates a hero.

- Jo Clayton, author - look her up.
- in order to have a Hero (with a capital H,) there must be a villain - who’s the villain in Iditarod, Tiopa?  Circumstances, at the very least.  Thereby assuming that none of those characters are truly heroines.

- is a heroine simply a female hero?  Or is she something more?  Not so much a difference as a different dynamic created between a heroine and villain…

- writing an ensemble piece ain’t easy - Freya’s Tears, when completed will result in the loss of at least two crew members - will the next book (assuming there is one) focus on a different protagonist?

- it’s not enough for a heroine to decide to take control of a situation. She must choose to END it.  (Azrael, Dusky, Els, Kathleen.)

- a woman’s heroic journey follows a similar path as the hero except she gets to a point where she must decide between two paths, nurturer or warrior.  The journey continues until both paths merge again, and she finds herself doing both.

Orycon and the Future

The Death of OSFCI and what you can do to keep Orycon alive after Orycon 30.

Andrew Nisbet, Patty Wells, Linda Pilcher

Considering how much I enjoy Orycon, I had to attend this panel to see what was going on.  Apparently there’s a dearth of people willing to fill the long term, committed openings that are required to put together a convention.  Things have been in flux with Orycon for the last four years and don’t appear to be letting up.  This was a panel to drum up fannish support.

I dunno, man.  I’m interested, truly, but …  I do enjoy attending the panels.  If I worked a convention from planning stages to culmination, it’d have to be in a position that wouldn’t deter me from attending the panels.  I’ve worked Dealer’s Room as assistant, and that takes a lot of time out of the day.  Same goes for several other positions in a large con.

We’ll see.

Role-playing Game Design and Publication 101

How writing for the role-playing market differs from writing for the fiction market, what is involved in designing and publishing a role-playing game, and how much reward one is likely to get for all one’s work.  A beginning writer’s guide to the RPG market.

Greg Gorden, Gwendolyn Kestrel, Joseph D. Karriker, Jr., William B. McDermott, Riannon Louve, Anthony Pryor

Not that I’m particularly interested in writing a RPG.  I like gaming, and my primary reason for attending this panel was to consider another potential money-maker.  (Anything to get out of my current job, doncha know?  LOL!)

- contact the game developer, ask what he or she needs, and give them EXACTLY that.

- gaming articles are good for background and resumes.

- prove comprehension of the material when writing a module.

- website, website, website!  If a particular game inspires artwork, be sure to give credit (’based on’…)

- Note to self - business card.

- write novels based on a gaming system as a sideline for money making (’based on’…)

- keep up on the comings and goings within the company.  Not much different than the regular or small publishing world, really.  In fact, the gaming industry is just as political and incestuous as any other.  Be professional, and don’t quit your day job until you have a year’s salary in the bank.

- the more complete the module, the better.  Don’t just write up the specifics.  Create the characters needed, the maps, artwork, tech data, the whole shebang.

THEN I was going to go to another panel or two.  Instead, I got sidetracked by work (the dangers of attending a convention in your workplace.)  So I ended up leaving property for a quick lunch downtown and returning for a trip through the art show.

Bought two prints from my current favorite local artist, Alan M. Clarke.  He’s got some great stuff, morbid as hel, and a very smartass sense of humor. Also made note of Sarah Clemens.  She’s got some great pieces with Magnus and Loki — a cat and a small dragon who get into various troubles.

How to Make a Living as an Artist

How do artists make a living? Can you break the starving artist traditions and really make some money?

Margaret Organ-Kean, John R. Gray III, Jeff Fennel, Jeff Sturgeon, Alan M. Clarke, Vincent DiFate

- “Diversify!” Clarke

- Pinging off that comment, I can go digital (sell prints at conventions, sell online, pick up work via gaming companies.) In Second Life (virtual world), I can design and build virtual clothings, behaviors, items, buildings for sale.  I can possibly offer services as book cover illustrator with my current contacts with authors and publishers.

- I need a high quality Epson printer and a scanner.

- Create book covers for books I’ve read (’inspired by’,) and put them on my website - use the web as a portfolio of digital artwork.

- “Art is about making pictures. The tools you use are irrelevant.” Vincent DiFate

A’ight… end of day two (Saturday.)  I went home to take a nap, with every intention of returning that evening for a concert by Heather Alexander.  Yep… you guessed it.  I stayed home.  I REALLY have to stay in the hotel next year!