Before we dive into the wide world of writerly education, there’s one bit of news I wanted to share. A lot of OA members have said they’re fans of Diane Duane, and cited her as an influence on their own work, so I thought I should pass on her call for help. Earlier this week someone fraudulently cleared out her bank account, and she’s scrambling to make ends meet while the bank sorts through fraud paperwork. A quick infusion of cash would be very welcome, so she’s offering a 20% discount on her personal e-book store. If you’d like to help her out and get some excellent books at a bargain price, just go over there and use the promotional code DDGOTSKIMMED.

Okay! Writing workshops!

The beginning of the calendar year is one of those times when a lot of people resolve to improve and grow. If you’re a writer, you might be drawing up plans to complete big projects, or making goals for submissions counts, or you might be trying to figure out how best to learn more about your craft. There are a lot of writing classes out there. Here are a few which are QUILTBAG friendly. All of these have either been recommended by OA members, or are taught by OA members.

I’m going to list these in order of pricing from high to low. I’m not valuing any workshop or class over another, though, just to be clear.

Clarion Workshops — These are six week intensive workshops. They’re competitive, and they’ll set you back a couple thousand dollars (though there are a few scholarships available). Several OA members have praised them for the diverse and knowledgeable instructors, and the residential setting, which focuses students on learning and making connections with their peers. Many Clarion students go on to sell a lot of work. If this sounds like your cup of tea, applications are open until the 1st of March for both Clarion and Clarion West. Both workshops this year feature instructors who have written stories with QUILTBAG content themselves, so it’s safe to assume they’ll be supportive of yours if you bring it.

Viable Paradise — Like Clarion, this is a residential intensive workshop with several instructors, and it’s also going to cost you a couple thousand dollars when all is said and done. Unlike Clarion, all the instructors are there together, and the whole experience lasts one week instead of six. It’s also competitive, and many Viable Paradise students go on to sell a lot of work. If the intensive residency idea appeals, but you have a job or family you can’t leave for long, this might be a good choice for you. Applications  for Viable Paradise are open until the 15th of June.  Again, the instructors here have written (or published) QUILTBAG material, so yours will be welcome.

Lambda Literary Writing Retreat for Emerging LGBT Voices – If you want to spend time with other QUILTBAG writers, this might be a good choice for you. It’s another weeklong intensive residency program, which, again, will cost a couple thousand dollars after you’ve accounted for transportation and room and board on top of the tuition (though there are scholarships available).  Applications are open until mid-April. Lambda Literary has more information here.

Loft Classes — The Literary Loft is a Minneapolis area organization which offers lots of different classes for writers both in person and online. These are a good option for people who have less money to spend, and they’re not competitive–anyone may enroll. If you live in the area, you might consider taking Catherine Lundoff’s one day class on writing and selling QUILTBAG fiction on the 18th of February (a steal at $46.50). If you don’t live in the area, you might like Lyda Morehouse’s science fiction class, Mars Needs Writers ($425.00 for six weeks of online coursework starting on the 6th of February–video introduction here). Both of these instructors are most certainly open to QUILTBAG work. To find either class, visit the Loft site, and look them up under the teaching artists field in the search page.

Cat Rambo’s Online Classes — For the writer who wants to experience a workshop classroom environment without leaving home, this is a great choice. These classes run from $99 to $249, and Cat teaches over Google+ hangouts, which are video chats. I’m currently taking one, and can personally attest it’s been helpful. Again, this is a non-competitive open enrollment situation, so your class will likely contain people at different levels. I’ve found that perfectly agreeable, as Cat gives equal time and attention to everyone and is very good about tailoring classes to specific students’ needs. And Cat’s an OA member, so you know QUILTBAG content is welcome. You may find info on how to sign up at Cat’s blog.

That’s what I’ve got for now. If you have other QUILTBAG friendly writing education recommendations, please tell us about them in the comments!

Finally, there are still a few days left to enter the drawing for a signed copy of Natania Barron’s Pilgrim of the Sky. Just comment on this post to get your name into the hat!

I’m always happy to see great collections of QUILTBAG recommendations, so I wanted to open things up to everyone reading this. Did you have any particular favorites in 2011? What were they, and why did you love them?

Although this episode has an explicit tag, most of it is fine for everyone to consume. If you are concerned about exposing your delicate ears to a bit of salty language, however, you should avoid listening to the very last excerpt (from Patty Templeton’s story).

You can subscribe to the podcast RSS feed here or use this link to subscribe with iTunes. You can also hit play on the embedded player in this post and listen to the podcast on the web, or visit the individual episode page to download this episode as an MP3 without subscribing.

Notes:

Awards!
*The Gaylactic Spectrum Awards writeup is here. The OA sends hearty congratulations to all!
*Elisa Rolle’s Rainbow Awards list is here. So many OA members to congratulate! Excellent job all around! Particular congratulations to JoSelle Vanderhooft and Catherine Lundoff, Cecilia Tan, Lauren Burka, Lee Thomas, Lee Benoit, and Kyell Gold!

Zen Cho’s Links
*Zen’s blog, which has links to all her stories.
*Eileen Chang‘s stories were part of the inspiration for Zen’s story in SteamPowered II.
*Malaysian and Singaporean writers: Jaymee Goh, Stephanie Lai, Fadzlishah Johanabas, Ika Koeck, Alfian Sa’at, Eeleen Lee, Joyce Chng.
*Ken Liu and Aliette de Bodard are not Malaysian or Singaporean, but Zen recommends their work, too.

Shveta Thakrar’s Links
*Shveta’s blog.
*“Lavanya and Deepika” is Shveta’s retelling of “The Beautiful Twin and the Ugly Twin” in Demeter’s Spicebox.
*Shveta recommends the Hindu myth comic books from Amar Chitra Katha.

Patty Templeton’s Links
*Patty Templeton’s blog.
*The Foxfire Books seek to preserve and celebrate the culture of Southern Appalachia.
*Naked Girls Reading is a group of women who like to read in the nude (yes, this page does contain pictures of naked women). They also give out a Literary Honors Award, which Patty won in 2010.

More About SteamPowered II
*Jaymee Goh interviewed every contributor for this volume on her blog. See the collected interviews here.
*The Skiffy and Fanty Show (a podcast co-hosted by OA member, Shaun Duke) had an LGBTQ themed episode with SteamPowered editor, JoSelle Vanderhooft this month.

***

***

I suspect it’s easier to find a single overarching “Big Idea” in a novel than in a collection of short fiction. Part of me wanted to be completely smart-alecky and say, “It’s a bunch of stories by Me” and leave the whole Big Idea notion at that.

But the more I thought about it, the more I recognized that the book does have some overarching common themes. It represents a certain kind of story that I’ve written over the course of the last sixteen years. All the stories in this book have lesbian or queer female protagonists. And all of those characters appear in fictional roles commonly assigned to men: pirate, playwright, private detective, bard, swordswoman. Some of them are very handy with a sword. Some of them are not. Still it is one of the other elements they all have in common: they’re doing the kind of things that I would have loved to read about when I was a teenager and power-reading my way through novels by Dumas, Sabatini, Pyle and Hope. I always loved a good swashbuckler, full of sword fights and deeds of derring-do, where honor trumps almost everything else.

But in those stories, women are love interests to be rescued, or more rarely, villains who are killed like Dumas’ Milady. I always liked Milady. She got a raw deal. She was an entirely memorable character and fiercely, uncompromisingly strong. When I started writing, I wanted to write about characters who shared some of those characteristics: strong women, fighters, though not always with swords. Women I could relate to, but who weren’t me. I tend to write to write about queer women because that’s how many of my characters come to me. The truth is, though, that I want to write about queer women doing things that are about doing things. A writer friend recently pointed out that the majority of my characters take being queer for granted. It’s part of who they are, but it’s not the engine that drives the plot. That would be my worldview working its way through my imagination and looking for inspiration in all sorts of places.

My inspiration for these particular stories was fairly wide-ranging. Some were written because I read about a real woman who fascinated me, like Julie d’Aubigny La Maupin, seventeenth century opera singer and professional duelist or her contemporary, Caribbean pirate Jacquotte Delahaye. Other stories were inspired by editorial guidelines like the one I wrote for the themed anthology that didn’t happen: supernatural mysteries with lesbian protagonists stylistically influenced by Lovecraft and Clark Ashton Smith.

Story inspirations are always a grab-bag, at least for me. I run across a reference and think “what if?” Or a first line comes to me out of the blue. From there, if all goes well, I get a scene, a paragraph or two that kicks things off. After that it’s all about trying to figure out what would happen next to this protagonist in this given situation. I’m not one of those writers who know how the story ends when I start it. I have to follow it on all its twists and turns. Sometimes, the writing flows easily and a story gets written in a few sessions. Sometimes, I go through multiple false starts, working and reworking voice, plot and perspective before the story gels.

For me, putting a collection of those same stories together is all about opportunity. First, I figure out what I have that’s available from the stories I’ve already written: nothing that’s under contract that hasn’t been published yet and which hasn’t reverted back to me, for example. Then I need something to tie the work together so it’s a matter of figuring out what these particular stories have in common. Some will just jump out at me as playing on themes I like to work with, while others are just as clearly a bad fit.

At that point, I also need to figure out what I have that’s unpublished; I always want to give my readers something new. Then once all the selecting and editing and writing of individual stories is done, I get to tackle the magic of story order. Trying to figure out what stories will flow into each other without jarring the reader out of the text is an art in itself.

The truth is, though, that hardly anyone ever reads stories in the order I put them in, but the illusion of control is part of the fun of being a writer in the first place, isn’t it?

***

Catherine Lundoff is the award-winning author of Crave: Tales of Lust, Love and Longing (Lethe Press, 2007), Night’s Kiss (Lethe Press, 2009) and A Day at the Inn, A Night at the Palace and Other Stories (Lethe Press, 2011). She is also the editor of Haunted Hearths and Sapphic Shades: Lesbian Ghost Stories (Lethe Press, 2008) and co-editor, with JoSelle Vanderhooft, of Hellebore and Rue: Tales of Queer Women and Magic (Drollerie Press/Lethe Press 2011). Her website can be found at www.catherinelundoff.com.

I’m Here, I’m Queer, What the Hell Do I Read?: Lee Wind’s awesome book recommendation blog. He reads all kinds of things and shares his thoughts with the rest of us–and there’s always an open comment thread. Seriously excellent resource. Right up there with…

Bibrary Book Lust: Sally Sapphire’s super book recommendation resource. Sally’s open to all sorts of genres, and super interested in keeping the conversation going–she started the Gender Identity and Expression Book Challenge at the beginning of this year. There’s still time to participate, if you like!

Twitter #FeministSF Chat: This happens every Sunday at 2pm EST. Every week there are one or two host/moderators who guide discussions on particular themes. This Sunday, Catherine Lundoff and Kathryn Allen are going to be talking about outsiders and cyberpunk. Sign into Twitter and follow the #FeministSF hastag. Anyone can participate, and it’s a great way to meet other people and get book recs.

In Person in New York This Month: On the 24th, The Center for Fiction is hosting an Outsiders in SF panel with Steve Berman, Samuel Delaney, Andrea Hairston, Carlos Hernandez, Alaya Dawn Johnson, and Ellen Kushner.  And on the 10th (that’s Monday!) Bluestockings is hosting a reading from Milk and Honey: A Celebration of Jewish Lesbian Poetry. Rose Fox will be a part of that one. Honestly, if you’re ever in New York, it’s worth checking out the Bluestockings events calendar, since they have stuff going on nearly every day.

In Person in Washington DC This Month: Capclave is next weekend, the 14th-16th in Gaithersburg, MD. Catherynne Valente is one of the Guests of Honor.

In Person in San Diego This Month: The World Fantasy Convention is on the last weekend of October. It’s already completely sold out, and has been for some time, but it promises to be full of exciting conversations, which I’m hoping will spill over onto the internet so that people like me, who can’t be there, can join in the fun.

If you know of other places where excellent conversations are happening, please tell us in the comments here or on the google group. And if you’re going to any of these in-person events and want to share your experience with us, we’d love to hear those, too!

We have yet another controversy rocking the queer specfic community this week. It’s one I have reservations talking about, but I know it’s deeply important to a lot of our membership that the OA addresses it, and I do understand and support that sentiment, so here I am.

Three years ago, Tor published a collection of novellas, which included one by Orson Scott Card. He retold Hamlet. I didn’t hear about it at the time. By then I’d already stopped buying books by Card, or submitting work to his publication, because I knew that our fundamental values were at odds. He’s publicly said many times things that indicate that he doesn’t support LGBTQI rights, and believes a lot of things I find offensive and damaging. Now, my personal response to that has been to ignore him. He has the right to say what he wishes, because we both live in a time and place where freedom of speech is a protected right. I have the right to speak out against him if I choose, but to date I’ve always felt that exercising that right would give his damaging viewpoint more attention, and I didn’t really want to do that.

People talk about honest reviews being good, and I agree. People have said that negative reviews can help boost sales, and I agree with that, too. I’ve bought books before because I read a review that made me sure I’d like them even though the reviewer didn’t. More than anything, reviews give books attention. I wouldn’t have known about this book if it hadn’t been for a review. I’m guessing a lot of other people wouldn’t have either. I worry that the fervor over it will lead to results other than what the protesters would hope. I know that I’m potentially fueling that unwanted attention by adding my voice to the conversation, and that unsettles me.

I’ve said before that it’s important not to attack people personally. I don’t wish to do that, and I won’t be doing that today. I’ve also said that it’s important to speak out against injustice, and important to educate people when we can. It is my hope that I will accomplish these things, and also that this post will serve as a part of an extended open dialogue with the specfic community at large.

Now, the review in question was in response to a reprint of Card’s Hamlet retelling, not the original Tor collection. The standalone novella came out this Spring from Subterranean Press. I was especially dismayed to hear that news, and to hear, in the first cries of outrage, people calling for a boycott of Subterranean. That particular press has often published great books and stories with queer content, and by queer authors. I’ve bought some of them, and always felt good about supporting an open-minded small press with really nice production values. Seriously, if you’ve ever bought a book from them, you’ll know that they use highest quality materials. Their art is usually great, and every time I receive one of their books, I feel a sense of tactile joy, because they understand about texture at Subterranean. Their books are a pleasure to hold.

When this all erupted in a flurry of passionate e-mails on the OA google group, I said that if I boycotted every publisher who ever put out something I found offensive, I’d severely limit my reading choices. Others asked why people hadn’t called for a boycott of Tor. Still others pointed out that this was a troubling reprint because it was specifically chosen by a small press, and we ought to demand to know Bill Schafer’s reasoning. Along with boycotting, demands for various other concessions floated about, but none seemed to unite everyone in agreement.

Then someone pointed out that it was in fact possible that Bill Schafer and others hadn’t realized how and why this story was offensive. People who have the privilege of not being targeted by these damaging tropes are often unaware of them. Indeed, Bill Schafer’s response to the whole thing indicates that this might have been the case for him. He asks for people to share their thoughts, and says that he’s listening. If all of this results in a publisher learning a little more about how and why works he publishes might actively hurt people, then I suppose it’s worth the risk of giving attention to an author I’d rather ignore. Here is a collection of accounts by OA members of their experiences with this particular controversy, followed by some recommendations of queer-positive Shakespeare stories.

Rose Fox summed up the whole sordid saga in a concise and comprehensive manner over on the Genreville blog.

[T]his is the thing about offensiveness grenades: they may look entirely inert for so long that you forget they’re dangerous, but sooner or later, they explode.

On the google group, Rose added the following:

I am really sad and disappointed that Subterranean Press and Tor Books, which publish many books by queer and trans authors and with queer themes, also published a novella that vilifies queer people and equates us with child molesters. I call on those publishers–and on all SF/F publishers, imprints, and magazines both large and small–to refrain from publishing books and stories that vilify any group of people in such a fashion.

Cheryl Morgan said much the same thing to me, and explained why this particular reprint is so upsetting:

There is, I think, a difference between publishing the story as part of a retrospective of Card’s work, which can put it in context, and publishing it has a high-priced collectors’ edition, which suggests it is something special and of extra value.

Elizabeth Schechter posted about her personal reaction on her blog:

To be honest, right now, I’m more at the stage of sputter…sputter… whiskey  tango FOXTROT???

And my reaction isn’t because Card wrote this. Anyone who is following along and playing Homophobic Bingo: the Home Game just maxed out their score. This is no surprise.

The surprise is that Subterranean Press published it.

River Willow Fagan posted an extremely brave and heartfelt open letter to Bill Schafer, explaining how and why this kind of thing damages people:

One of the most painful aspects of being a queer survivor has been the doubts: what if all those hateful voices were right?  What if I am attracted to men because my father abused me?  What if I really am sick, what if my soul really is twisted and broken like all those conservative Christians say?

Sunny Moraine called for people to demand better stories, and posited that small-mindedness leads to bad writing:

I think that it’s important to recognize that art can be really offensive and still have a huge amount of value. But I also think that believing stupid, hateful things – more often than not – makes you a bad artist. As it cripples and stunts your mind and heart and spirit, it cripples and stunts the things that your mind and heart and spirit produce.

Brandon Bell, talking of the demands for more good queer stories, noted:

I’m certainly happy to see queer-themed Shakespearean works at Fantastique Unfettered.

Angela Korra’ti expressed a hope that people would not buy the book now that it has received more attention, and offfered a few alternatives for people who want good queer retellings of old stories:

So to all of you who never knew about this work, I’m a bit sorry to have brought it to your attention, and can only hope you will continue to not only not buy it, but will specifically not buy it because bigotry is not okay. To those of you who already knew about it and elected not to buy it on that basis, I thank you.

To counter its existence, I’d like to commend to your attention the Lethe Press anthology Time Well Bent, in which Catherine Lundoff has a story in which Shakespeare isn’t queer, but his sister Judith is–and so is his friend Kit Marlowe. Hayden Thorne has Arabesque, a dark m/m adaptation of Snow White. And I’ve mentioned this one already, but it’s worth mentioning again in a post whose theme is “adaptations of classic stories”: i.e., Ash by Malinda Lo.

Several people recommended Elizabeth Bear’s Spectrum Award winning Stratford Man duology. Warren Rochelle, one of the judges for the award, shared his thoughts about the books alongside some quotes from the official Spectrum Award writeup:

Ink and Steel and Hell and Earth, the two volumes in Elizabeth Bear’s duology, “were far and away the work most deserving of our award for the year.” I was quite taken by this universe in which Shakespeare and his rival and teacher and sometime lover, Marlowe, move back and forth between the worlds of Elizabethan England and Faerie and even Hell, a universe in which “the worlds of a great writer can shape the world as a form of magic … {Y]ou’ll find yourself believing that this magic of words is more than a fantasy story.”  All three worlds are masterfully done and I was more than willing to suspend disbelief.  I was caught up in the ongoing crises, crises “that only a handful of individuals, including Shakespeare, can overcome . . . Both Shakespeare and Marlowe . . . must face their own demons, their own mortality, and their own desires if they are find immortality for their own work, and the two kingdoms they come to love.”

And, finally, Hal Duncan offered his own playfully modernized screenplay retelling of As You Like it, free of charge. You can read his explanation of how it came to be, and the first scene in this blog entry, and you can download the whole thing at this site.

That wraps things up for this harrowing monster of a blog post. As I said earlier, I hope that it will be a part of an extended open dialogue. I’d love to hear more from anyone who wants to share their thoughts about this, and I’m especially interested in ideas about how we can use this situation to make our community better and stronger. Please leave a comment here, talk to us on the google group, or email me directly at julia@juliarios.com.

The SF Squeecast is a brand new podcast, which, it seems, has been months in the making. The first episode came out yesterday, but it was recorded back in January. Lynne Thomas (curator of rare books and special collections at Northern Illinois University, and editor of pop culture essay collections like the Hugo nominated Chicks Dig Time Lords) moderates conversations in which Elizabeth Bear, Catherynne Valente, Seanan McGuire, and Paul Cornell get their geeky excitement on about SFnal stuff they’ve enjoyed. The first episode tackles The Middleman, Unstoppable, Yarn by Jon Armstrong, and A Dream of Wessex by Christopher Priest.

The Writer and the Critic is one I’ve mentioned before! It’s one of my favorites, and in addition to being future OA Podcast guests, Kirstyn McDermott and Ian Mond have another OA connection: the most recent episode features guest reviewer Cat Valente. In this live recording from  Continuum 7, they discuss Full Dark, No Stars by Stephen King, Among Others by Jo Walton,  and Embassytown by China Miéville.

Galactic Suburbia is another Australian podcast. Tansy Rayner Roberts, Alisa Krasnostein (the person behind Twelfth Planet press, which published the two novellas Ian recommended for our August OA podcast episode), and Alex Pierce discuss SF fandom from a feminist perspective. I know I’ve mentioned this one before, but I’m bringing it up again because their next episode is going to be a discussion of Joanna Russ’s The Female Man, How to Suppress Women’s Writing, and “When it Changed”.

Broad Universe has two monthly podcasts. One is authors reading excerpts of their work, and the other is a discussion of a particular theme or writing style. Since June was pride month, both the June episodes of the Broad Universe podcasts had LGBTQ themes. The Broadpod featured excerpts by Kelly Harmon, Jennifer Pelland, Connie Wilkins, Roberta Gregory, and Jessica Freely, while Broadly Speaking had Cecilia Tan, Racheline Maltese, Elissa Malcohn, Catherine Lundoff, and JoSelle Vanderhooft discussing queer SF. Both June episodes were hosted by Trisha Wooldridge.  I’ll be hosting July’s Broadly Speaking discussion on the theme of writing humor, too, so look for that at the end of this month.

Podcastle and Escape Pod are weekly audio fiction podcasts, which have featured stories by several OA members like Amal El-Mohtar and N. K. Jemisin (who just won the Locus Award for Best First Novel!).

That’s it for now, but please do tell us about podcasts you like to listen to in the comments here, or on the google group!

A Gay (Straight) Girl (Man) in Damascus (Edinburgh) by Ali Abbas and Assia Boundaoui is an explanation of the damage the Amina hoax did from two “New York based writers and freelance-journalists that submitted a blood test and birth certificate to affirm that the above thoughts are their own analysis based on a lifetime of Arab and or queer and or American and or woman identification.”

White Privilege and the ‘Gay Girl in Damascus’ is an NPR segment in which Brian Spears (a white man) talks about white male privilege and why it’s not okay to co-opt the voices of marginalized people.

Sara Amis will be moderating a Feminist SF Twitter chat on Sunday at 2pm EST. The theme of this discussion is worldbuilding. If you want to participate, just follow the FeministSF hashtag.

And while we’re talking about #FeministSF, NPR is asking people to share their favorite SF/F books with the goal of ultimately making a top 100 books list. Nicola Griffith reminds everyone to consider including books by women on the list. I’ll add a bid for considering including books by queer people and people of color.

Finally, Ladies of Trade Town is available now at HarpHaven Publishing. I talked to Lee Martindale about this in the big Gaylaxicon podcast episode–it’s an anthology of stories about the oldest profession, with stories by Catherine Lundoff and Cecilia Tan.

This Sunday there will be a memorial Twitter chat in honor of Joanna Russ. To participate, just log into Twitter at 1400 (2pm) Eastern Daylight Time on the 8th of May, and follow the  #FeministSF hashtag. Several OA members and other people who are interested in feminism and speculative work will be talking informally about Russ and other pertinent subjects.

Congratulations to OA founder Natania Barron, who became an associate member of SFWA this week! You can read recent story “Without a Light” in the first issue Fantastique Unfettered (which is open for submissions for issue #3 right now).

Sunny Moraine has a new short story in Strange Horizons this week. “The Thick Night” is story both dark and hopeful with an interesting F/F relationship.

Congratulations to Katharine Beutner, who won the Publishing Triangle Edmund White Award for Debut Fiction for her novel Alcestis! Here’s a writeup of that awards ceremony from Lambda Literary.

Next week is Outlantacon/Gaylaxicon! Several OA members will be attending this convention, which exists to celebrate queer speculative fiction, gaming, media, and fans. JoSelle Vanderhooft and Catherine Lundoff will be hosting a launch party for the print version of Hellebore and Rue. Steve Berman and JoSelle will be reading selections from the book, and we’re tentatively planning to have that serve as an OA meetup, too, so if you’re in that area, come hang out and talk awesome queer fiction with us!

That’s it for this week. If you’ve got thoughts on any of this, or news of your own, please let us know!

In this episode, Catherine Lundoff, Jean Marie Ward, and Lisa Nohealani Morton talk to me about Hellebore and Rue, an anthology about lesbian magic users. After the interview, Catherine reads a selection of teasers from the book, and Jean Marie reads an excerpt of her contribution.

You can subscribe to the podcast RSS feed here or use this link to subscribe with iTunes. You can also hit play on the embedded player in this post and listen to the podcast on the web, or visit the individual episode page to download this episode as an MP3 without subscribing.