Tipsday: Writerly Goodness found on the interwebz, Oct 25-31, 2015

The NaNoWriMo posts keep on coming. I think we’re going to be neck deep in them the whole month of November (!)

K.M. Weiland explains how to win NaNo with totally doable daily and weekly writing goals.

Worried that your character isn’t likeable? Katie advises you to try this technique.

Carly Watters explains why perfect characters are a problem.

Angela Ackerman shows how your characters past trauma determines her character flaws. Writers Helping Writers.

Beth Revis explores the book of your heart on Janice Hardy’s Fiction University.

Chadwick Ginther interviews Julie Czerneda about returning to science fiction after a fantasy hiatus.

Then Julie appears on Jim C. Hines’ blog, answering the question, what do I call it?

Delilah S. Dawson (as Lila Bowen) talks about the silly ideas that grow into novels. Barnes & Noble.

Emily Johnson offers a step-by-step guide to home workplace organization on C.S. Lakin’s Live, Write, Thive.

Renovate you sentences with active phrasing. Chris Winkle for Mythcreants.

43 words you should cut from your manuscript immediately. Diana Urban.

David Mitchell is so over the genre wars. Salon.

More David Mitchell: In praise of Ursula K. Le Guin’s Earthsea. The Guardian.

If the novel is dead, so are we all. Junot Diaz on BigThink.

Is solarpunk the new cyberpunkpunk? SciFiIdeas.

Charlie Jane Anders reviews Maisy Williams’ guest appearance on Doctor Who. i09.

And then she took a look at Supergirl: dorky cuteness still packs a punch. i09.

Natalie Zutter reviews Supergirl for Tor.com.

Emily Asher-Perrin wonders if Marvel is shying away from a Black Widow movie because they know they’ll never get it right. Tor.com.

A short film offers a vision of post-apocalyptic Earth. Gizmodo.

And that is Tipsday.

Hang tight until next week, my friends.

And for those of you fighting the NaNo fight with me: keep writing.

Tipsday

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Ad Astra 2015 day 2: Paying your grocery bill: Grants and writing grant applications

Panellists: Amanda Sun, Karina Sumner-Smith, Sandra Kasturi, Chadwick Ginther, Bob Boyczuk

SK: I apply for Toronto Arts Council (TAC), Ontario Arts Council (OAC), and Canada Council for the Arts (CCA) grants for ChiZine and as a writer. OAC runs the Writers’ Reserve. There’s also the Works in Progress (WIP) grant. There are three deadlines a year. If you’re successful, you can’t reapply for two years.

KSS: The first time I applied for a grant, I did everything wrong. Reframe your application in literary or academic terms. I went from applying for a WIP grant so I could write my science fiction novel, to applying for funding to support the creation of post-apocalyptic literature.

SK: The jury changes every round. Keep applying, even with the same application. If you’re turned down in one round, you may be successful the next depending on who’s on the jury.

CG: CCA is the most open to experimental projects, I find. The OAC is the most conservative.

SK: The Writer’s Reserve runs from September to January every year. You send your manuscript to select publishers and one form to the OAC. Publishers get a set amount. ChiZine gets $13,000. That means we can publish about nine books.

KSS: The Writer’s Reserve has funds set aside for residents of Ontario outside of the GTA.

SK: The Speculative Literature Foundation offers two grants per year.

A: Actually they’re up to four now. Check them out.

BB: For the TAC, they ask for five copies of the manuscript and your name is not supposed to be on them anywhere. The judges actually sneak a peek.

SK: Guidelines may be hazy.

Q: What can you tell us about reporting?

SK: It varies between grants and organizations.

CG: There are also literary awards. The CCA runs the Governor General’s Awards. Generally you have to have a publisher to put your book forward for awards.

AS: Register for Access Copyright and the Public Lending Right programs as well.

Mel’s notes: Municipal arts councils will vary in the amount of support they can offer. TAC has money because it’s a big city (may go without saying, but . . . ). The Sudbury Arts Council has to be more selective in the projects it supports and has more limited funding. Provincial arts councils also vary widely. I’ve heard great things about the Edmonton Arts Council and the Alberta Foundation for the Arts. Other arts organizations, like the Canadian Authors Association, offer literary awards. Check out the individual sites for further details. Finally, the CCA is currently restructuring its funding programs. Check them out.

Next week: Self-publishing 🙂

Ad Astra Day 1: Myth-information in modern fantasy

Friday night session: Myth-information in modern fantasy.

Panel: Marie Bilodeau; Chadwick Ginther; Jen Frankel; Stephen B. Pearl; Katrina Guy

How do authors incorporate traditional lore and myths into their modern-day fantasy settings? Is it possible to make a witch burning pertinent in the twenty-first century? Discuss these, and other inflammatory questions, in this panel.

Sadly, I entered this session a bit late because of my travel turnarounds and check-in delays (and the fact that my room was possibly the furthest removed from the convention centre it could have been :P).

But here’s what I caught:

CG: Manitoba is the province in which there have been the most reported sasquatch sightings.

JF: Native legends are such a rich source of material. The Six Nations Reserve. Hoodoos.

SBP: In Europe and specifically the British Isles, the legends are equally rich. Take the stories of the Bogart.

MB: Why do we, as writers, depend so heavily on mythology? Are we lazy?

SBP: We’re tapping into something universal. Joseph Campbell was a smart man. Think what you will, but look at Robert Jordan’s work, particularly Dragon Reborn. The protagonist is comprised of bits and pieces of multiple mythologies, including Christianity and modern (Superman).

KG: In Simcoe County, there is this swamp which is reported to be haunted. The story goes that a monstrous baby was abandoned there. His spirit now haunts the swamp.

SBP: From the European tradition again, the trope of the unbaptised child recurs. In one instance, the person he haunts names him “Billy Bones,” and it turns out that was all he wanted: a name. Once he was named, his spirit became content and he disappeared.

JF: Where does urban legend cross the line into folktale? When does folktale become myth?

CG: In Winnipeg, there is the urban legend of “the hanging tree” out back of one of the courthouses. This was supposedly where the criminals were hung, but it’s really just a tree where an old tire swing was hung. The rope burn in the trunk was all it took for another, darker story to take hold in the imagination.

Q: There are real figures, such as the Black Donnelleys, that have become legend, tantamount to myth. What is it about these figures that attracts us? Is it the drama of their stories?

SBP: You have to be careful when you draw from myth or legend to stick to the principle, but make the situation suit the world of your novel. For example, I used a Japanese legend, rokurokubi, a demon which is a disembodied flying head. My work is paranormal, and I changed the flying head into the astral projection of a flying head, sent out to terrorize victims.

Q: What about the prevalence of mash-ups in Canadian horror and fantasy? For example, Jesuit priests and vampires?

MB: Myth informs our stories. My educational background is in religious and cultural studies.

SBP: To look at a modern interpretation of classical myth, look at The Almighty Johnsons.

CG: Also the current storyline in Thor comics.

JF: Drawing on myth is about the impact is has on us. For example, “everything comes in threes.” The supernatural tells us something deep about human nature. Mine those lessons for impact.

Q: Is it a challenge to be “boxed in” by mythology?

JF: The traditional, Voudoun zombie has been totally lost in the more modern “plague” zombie, or Romero’s zombies. Authors writing zombie stories now are somewhat constrained by what other authors have done with the trope.

MB: With fantasy, some people say it’s tame. It’s not a political genre. Science fiction is supposedly the avant garde genre, but if you dig down, it still draws on the same material.

CG: Joseph Campbell’s hero’s journey is cannon, if sexist.

SBP: The foundational myths go back as far as Aristotle.

KG: Fairy tales aren’t just Disney. I’ve visited a church where they have plaques from their sister church, half-way around the world, and stones from an ancient basilica. These are talismans as much as they are artefacts. We’re in touch with the fantastic every day. We walk past it and fail to recognize it.

JF: We can look back to connect the dots. The historical record. Why is “such and such” considered true? The writer translates this. What makes your character who they are? What makes us (humans) what we are?

SBF: The gift of perspective. Does the rabbit think the fox is “evil”? Extend that into your story’s mythology: is Dracula “evil”?

Q: What do you think of the trend of rewriting the classics with modern horror tropes? For example, Pride and Prejudice and Zombies?

CG: It’s a fun premise, but at the moment, it’s overdone.

MB: Let’s each give examples of our favourite authors who use mythology to finish off.

KG: Rick Riordan’s Percy Jackson series and the Kane chronicles. Tanya Huff.

SBP: Jim Butcher. The Time Life Enchanted Worlds series of books.

JF: 30 Indian Legends; Grimm’s Fairytales; Arthurian Legend.

CG: Gaiman’s American Gods; The Eddas; Song of the Vikings.

MB: The storytelling tradition, in all its variations.