25th World Fantasy Convention Program

List of all Items by time as of 22 October 1999

Please remember that this is still subject to change and we ask you to check your pocket program for the latest schedule.
Death is Easy, Comedy is Hard
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.
Thursday7:00pmExec. Board Room
The Great Ancient Tales, Epics, and Voyages: Fuel for Fantas
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
Dwayne H. Olson
The Evolution of Published Short Fantasy
(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
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
(m)Charles N. Brown
Don D'Ammassa
Jo Fletcher
David G. Hartwell
What is it, and why?
The Merging of Literature and Art
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
Thursday10:00pmExec. Board Room
Rain Graves
Alexandra E. Honigsberg
Mark McLaughlin
Does Fantasy Prepare People for Change?
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
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
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 9:00am550B
Judy McCrosky
What's Your Agenda? - Subtext in Literature
Friday 9:00am551
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 9:00am553
Jeanne M. Cavelos
Friday 9:30am553
Brian Froud
True Grit: Quests are Hard, and War is Hell!
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)
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?
Michael Kandel
The Changing of the Dark: How Has Horror Evolved?
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
Jonathan Fesmire
Justine Larlabestier
Ruth Nestvold
(m)Rodger Turner
Are there right ways and wrong ways to do the job properly?
Jack Dann
Friday12:00 n550B
Greer Gilman
Fantasy, Horror, Current Events...and Moral Responsibility?
Friday12:00 n552
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
Friday12:00 n553
(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.
Ian McDowell
Friday 1:00pm550B
Martin Mundt
How Does the Magic Work?
Friday 1:00pm551
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 1:00pm553
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?
Friday 2:00pm550B
Walter Jon Williams
Different Takes on the Same Story: The Other Point of View
Friday 2:00pm552
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 2:00pm553
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.)
Friday 2:30pm550B
Kij Johnson
Friday 3:00pm550B
Patrick O'Leary
Using Real Places as Fantasy Settings
Friday 3:00pm551
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 3:00pm553
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?)
Friday 4:00pm550B
Sean Stewart
The Image of "Home" in Fantasy
Friday 4:00pm552
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 4:00pm553
(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?
Friday 4:30pm550B
Elizabeth Hand
Nightmares and Dreams
Friday 5:00pm550B
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 5:00pm551
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?
Friday 5:00pm553
Charles de Lint
Evolution of an Artist Turning Slightly Digital
Friday 9:00pmBristol/Kent
Artistic Influences (a Slide Show)
Charles Vess
A Guide to the New Gothic Genre
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
Terri Windling
Vamps and Vampires: Looking at the Monsters We Desire?
(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
Friday12:00 mBristol/Kent
Ron Walotsky
Speculative Erotica
Friday12:00 mNewport/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 9:00am550B
Judy McCrosky
Why Adults Love YA Fantasy
Saturday 9:00am552
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 9:00am553
Ann Chamberlin
Scott E. Green
(m)David Lunde
There's Something About Harry...
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
(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
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.
Saturday12:00 n550B
Keith R. A. DeCandido
Rules of Engagement
Saturday12:00 n552
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
Saturday12:00 n553
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.
Guy Gavriel Kay
Slide Show
Saturday 1:00pm551
Diane Dillon
Leo Dillon
The Heroine's Journey
Saturday 1:00pm553
(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?
Saturday 1:30pm550B
Jan L. Jensen
Saturday 2:00pm550B
Kelly Link
Lovecraft in the Age of Exploration
Saturday 2:00pm551
(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 2:00pm552
(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?
Saturday 2:30pmReading room
Mark Anthony
Saturday 3:00pm550B
Thomas Harlan
Things You Should Have Read (Fiction and Non-fiction)
Saturday 3:00pm551
(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 3:00pm553
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)?
Saturday 3:30pm550B
Joe Haldeman
Shadow of the Torturer: The Writer as God
Saturday 4:00pm552
(m)Anne Harris
Tina L. Jens
Kij Johnson
Sean Stewart
Janine Ellen Young
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?
Crossing the Genres: SF, Fantasy, and Horror
Saturday 4:00pm553
Ellen Asher
Chaz Brenchley
Ellen Datlow
(m)Paul Levinson
Sarah Zettel
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?
Saturday 4:30pm550B
Kara Dalkey
Crossing the Genres, part 2 - Into the Mainstream
Saturday 5:00pm550B
Charlene Brusso
(m)Bradley Denton
Guy Gavriel Kay
Kristine Kathryn Rusch
William R. Trotter
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?
Coyote and Others
Saturday 5:00pm551
Charles de Lint
Heinz Insu Fenkl
(m)Jane M. Lindskold
Josepha Sherman
Terri Windling
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?
Saturday 5:00pm553
Patricia McKillip
The Secret Museum: The Lost Collections of the Boston Museum
Saturday10:00pmRoom B
Cortney Skinner
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.
Mining Shakespeare, Ballads, and the Oral Tradition
Grania Davis
Debra Doyle
David Drake
Gregory Feeley
(m)Greer Gilman
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.
Storytelling:Demo and Discussion
Saturday11:00pmRoom B
Barbara Chepaitis
Music and Magic
Charles de Lint
Susan J. Kroupa
Ellen Kushner
(m)Suford Lewis
Steven Piziks
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?
Saturday12:00 mNewport/Wash.
Tina L. Jens
Looking at Borges (45 minutes)
Sunday 9:00am551
Jeffrey Ford
Esther Friesner
Critters - in Fact and Fantasy
Sunday 9:00am552
Susan Dexter
Doranna Durgin
Bob Eggleton
(m)Sarah Zettel
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?!)
Scams and Scandals, Pitfalls and Traps
Sunday 9:00am553
James D. Macdonald
(m)Victoria Strauss
Lois Tilton
Focus on Avram Davidson (45 minutes)
Sunday 9:45am551
Gregory Feeley
(m)Michael Kandel
Jacob Weisman
Henry Wessells
Fantasy Art
Paul Barnett
Alan M. Clark
(m)Vincent Di Fate
Diane Dillon
Leo Dillon
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?
All About Agents
Susan Allison
Paul Levinson
(m)Donald Maass
Steve Pagel
Susan Ann Protter
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)?
Storytelling - a Workshop
Barbara Chepaitis
Grow Old Along With Me: Aging Your Characters
Jack L. Chalker
(m)Karen Haber
Ellen Kushner
Patricia McKillip
Nancy Springer
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...?)
Quests of Horror?
Denise Bruchman
(m)Paula Guran
Nancy Kilpatrick
Jeff VanderMeer
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.
Samuel R. Delany
John M. Ford
Looking at the Wild Man - from Enkidu to Mad Max, etc.
Sunday12:00 n551
Barbara Chepaitis
Anne Harris
J. Gregory Keyes
Anya M. Martin
(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?
Beyond the Black Gate: Heroic Voyages to Hell and Back (from
Sunday12:00 n552
Samuel R. Delany
(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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