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Odyssey Podcasts

 

Welcome to the Odyssey Podcasts. These podcasts are excerpts from lectures given by guest writers, editors, and agents at the Odyssey Writing Workshop.

Every month or two, we release a new podcast. Each one is ten to fifteen minutes long. You may download a particular podcast, or you may subscribe to the podcasts so you automatically receive them when they are released. To subscribe, you will need RSS reader software on your computer. There are many free RSS readers.

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Or see below to download and listen to individual podcasts. To access more options, right-click on the mp3 links.



PODCAST #119

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Pt. 2: At Odyssey 2018, Theodora Goss lectured on creating characters. In this excerpt, part 2 of 2, Dora discusses memorable characters and what makes them stand out. Students suggest different examples: Scrooge, Sherlock Holmes, Hermione Granger, Dracula, and others. Their personalities, actions, and other characteristics are discussed. Dora explains the difference between a flat character and a round character, and advises that a novel have at least one round character. She also advises writers to take a close look at their characters and the relationships between them to discover what sort of plot can arise from those characters.

Theodora Goss Theodora Goss was born in Hungary and spent her childhood in various European countries before her family moved to the United States. Although she grew up on the classics of English literature, her writing has been influenced by an Eastern European literary tradition in which the boundaries between realism and the fantastic are often ambiguous. Her publications include the short story collection In the Forest of Forgetting (2006); Interfictions (2007), a short story anthology coedited with Delia Sherman; Voices from Fairyland (2008), a poetry anthology with critical essays and a selection of her own poems; The Thorn and the Blossom (2012), a novella in a two-sided accordion format; the poetry collection Songs for Ophelia (2014), short story and poetry collection Snow White Learns Witchcraft (2019), debut novel The Strange Case of the Alchemist's Daughter (2017), and follow-up European Travel for the Monstrous Gentlewoman (2018). Her work has been translated into twelve languages. She has been a finalist for the Nebula, Crawford, Locus, Seiun, and Mythopoeic Awards, and on the Tiptree Award Honor List. Her poems "Octavia is Lost in the Hall of Masks" (2003) and "Rose Child" (2016) won the Rhysling Award and her short story "Singing of Mount Abora" (2007) won the World Fantasy Award. Her next novel, The Sinister Mystery of the Mesmerizing Girl, will be published in 2019 by Saga Press.

The text of this recording is copyright © 2018 by Theodora Goss. The sound recording is copyright ℗ 2019 by Odyssey Writing Workshops.



PODCAST #118

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Theodora Goss was a guest lecturer at Odyssey 2018, where she spoke about creating characters. In this excerpt, which is part 1 of 2, Dora explains that being advised to think of her characters as people helped her to realize characters need to have lives of their own. They need to exist as if they're real people, not just constructs for a story. Dora explores the pleasures characters provide to readers. We can project ourselves into a character. This allows us to become someone else and participate in that character's life. We can vicariously experience things we would never otherwise experience. We can learn something from the character. We can get to know the character more deeply than we know real people. Dora points out that a text should give pleasure, and a text succeeds to the extent that it gives pleasure to a reader. That doesn't mean your story has to please everyone, but it should provide some pleasures to the readers for whom the story is intended.

Theodora Goss Theodora Goss was born in Hungary and spent her childhood in various European countries before her family moved to the United States. Although she grew up on the classics of English literature, her writing has been influenced by an Eastern European literary tradition in which the boundaries between realism and the fantastic are often ambiguous. Her publications include the short story collection In the Forest of Forgetting (2006); Interfictions (2007), a short story anthology coedited with Delia Sherman; Voices from Fairyland (2008), a poetry anthology with critical essays and a selection of her own poems; The Thorn and the Blossom (2012), a novella in a two-sided accordion format; the poetry collection Songs for Ophelia (2014), short story and poetry collection Snow White Learns Witchcraft (2019), debut novel The Strange Case of the Alchemist's Daughter (2017), and follow-up European Travel for the Monstrous Gentlewoman (2018). Her work has been translated into twelve languages. She has been a finalist for the Nebula, Crawford, Locus, Seiun, and Mythopoeic Awards, and on the Tiptree Award Honor List. Her poems "Octavia is Lost in the Hall of Masks" (2003) and "Rose Child" (2016) won the Rhysling Award and her short story "Singing of Mount Abora" (2007) won the World Fantasy Award. Her next novel, The Sinister Mystery of the Mesmerizing Girl, will be published in 2019 by Saga Press.

The text of this recording is copyright © 2018 by Theodora Goss. The sound recording is copyright ℗ 2019 by Odyssey Writing Workshops.



PODCAST #117

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Scott Andrews, Odyssey graduate and editor-in-chief/publisher of Beneath Ceaseless Skies, was a guest lecturer at the 2018 Odyssey Writing Workshop. In this excerpt from Scott's question-and-answer session, he discusses worldbuilding in short stories, reading large volumes of submissions, and the importance of voice. Asked about worldbuilding in a short story, Scott explains that it depends on the kind of story you want to write. In most stories that are 3,000 to 4,000 words, the worldbuilding is not as deep. The author needs to provide hints that communicate the richness of the world in a few words and create the illusion of an entire world, the way a movie set suggests more. Tone and voice can also help to convey world. Stories 7,000 to 8,000 words long usually contain more worldbuilding. The story stops to look around and can get absorbed in aspects of the fantasy world. When a story is 15,000 to 20,000 words, it often luxuriates more in worldbuilding. In something much longer, like a George R.R. Martin novel, the author can really luxuriate in worldbuilding. In that case, the author needs to make the exposition emotionally moving. In short fiction, the exposition needs to be important to the story. So you need to figure out what kind of story you want to write and then read some good examples at that length. When Scott is asked how he gets through the high volume of submissions, Scott says he reads slowly but thinks quickly. He always reads a page or two before assigning the submission to the slush readers, but after a sentence or a line, can make a pretty good bet about whether it will work for him. An important quality he seeks is the feeling that he is in competent hands and that the writer is going to do something interesting. A lot of that comes from voice. Asked about voice, Scott says voice may be the most important element of a story. It can give the feeling that you are in competent hands and something interesting will happen. He also looks for a voice that is somewhat different than he's experienced before. While he may recognize an author's voice, that voice should be different in each story. Writers tend to get control of voice the more they write. Voice also comes from digging deep into the character and world and story, and from that spark that exists in early drafts. What is the unique word choice that flows out? One member of the class who serves as an editor for her college magazine asks for advice on dealing with emotional exhaustion when reading a lot of submissions. Scott suggests she try to remember that there's a real person behind each submission, and not to be tired or grumpy when reading. At the same time, you need to be a bit mercenary when reading. Some good things will fall between the cracks because you can't give each one full loving attention, but do the best you can. Don't write the rejection letter when tired.

Scott H. Andrews Scott H. Andrews lives in Virginia with his wife, two cats, nine guitars, a dozen overflowing bookcases, and hundreds of beer bottles from all over the world. He writes, teaches college chemistry, and is Editor-in-Chief and Publisher of the seven-time Hugo Award finalist and World Fantasy Award-winning online fantasy magazine Beneath Ceaseless Skies.

Scott is a graduate of the Odyssey Writing Workshop; his literary short fiction has won a $1000 prize from the Briar Cliff Review, and his genre short fiction has appeared in Space & Time, Crossed Genres, and Ann VanderMeer's Weird Tales.

Scott has taught writing at the Odyssey Workshop, Writefest, for Clarion West, and online for Odyssey Online Classes and Cat Rambo Academy for Wayward Writers. He has lectured on short fiction, secondary-world fantasy, editing, magazine publishing, audio podcasting, and beer on dozens of convention panels at multiple Worldcons, World Fantasy conventions, and regional conventions in the Northeast and Midwest. He is a six-time finalist for the World Fantasy Award, and he celebrates International Stout Day at least once a year.

The text of this recording is copyright © 2018 by Scott H. Andrews. The sound recording is copyright ℗ 2019 by Odyssey Writing Workshops.



PODCAST #116

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Meagan Spooner, an Odyssey graduate and New York Times bestselling author, was a guest lecturer at Odyssey 2018. In this excerpt from her question-and-answer session, she discusses collaboration and writing for the young adult audience. Meg explains her collaboration process with co-author Amie Kaufman. They roleplay their characters first, to get a sense of the characters' relationship, how they interact, their voices, and their dialogue. In drafting, they tend to alternate chapters, with each writing the point of view of one character. Meg writes one character's POV; Amie writes the next chapter from the other character's POV, and so on. Revision is a free-for-all. They both work on all of the novel and lose track of who wrote what. A successful collaboration depends upon strong communication. If you're considering collaborating with another writer, first talk about your short-term and long-term goals, how many words per day you want to write, and what's most important, so you can ensure you're on the same page before you get started. A strong collaboration can be greater than the sum of its parts. Meg explains how Amie can anticipate what Meg will do better than Meg can anticipate herself. This can be very useful. Collaboration can also help provide accountability and motivation, and allow you to be surprised by your own story. When asked why she writes YA, Meg says she felt the greatest pull to write after reading YA novels. She wants to recapture that feeling of being swept away. And there is no audience more devoted, enthusiastic, and open to being swept away than teens. Asked how to aim a work at a YA audience, Meg explains that YA doesn't require any change in style, but must have a teen protagonist, and the story must in some way be a coming-of-age story, with the protagonist figuring out who she is and where she fits in the world. Violence is fine in YA, but sexual content is problematic. Middle Grade novels, aimed at readers aged 8-12, require prose for a younger audience. Meg says that YA encompasses all genres, though thrillers and mysteries are not as prominent. But she encourages writers to write what interests them and feels there is a YA readership for any type of novel. As for what distinguishes an adult novel with a teen protagonist from a YA novel, Meg explains that the character arc, one of self-discovery, is critical in YA.

Meagan Spooner Meagan Spooner is the New York Times bestselling author of Hunted, Unearthed, and the Starbound trilogy (These Broken Stars, This Shattered World, and Their Fractured Light). Her latest retelling, a gender-bent retelling of Robin Hood called Sherwood, will be out on March 19. She attended Odyssey in 2009 and sold her first novel a year and a half later. She grew up in Virginia, reading and writing every spare moment of the day, while dreaming about life as an archaeologist, a marine biologist, an astronaut. She's traveled all over the world to places like Egypt, Australia, South Africa, Antarctica, and the Galapagos, and there's a bit of every trip in every story she writes.

She currently lives and writes in Asheville, North Carolina, but the siren call of travel is hard to resist, and there's no telling how long she'll stay there.

In her spare time she plays guitar, plays video games, plays with her cat, and reads.

The text of this recording is copyright © 2018 by Meagan Spooner. The sound recording is copyright ℗ 2019 by Odyssey Writing Workshops.



PODCAST #115

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In 2018, Elizabeth Hand lectured at the Odyssey Writing Workshop on Secret Knowledge and Secret Wounds. In this excerpt, the second of two parts, she discusses how you can use the secret knowledge from your life experiences to enrich your fiction. You need to train yourself to start thinking the way an actor does. Marlon Brando called on a deep experience of loss he had and translated it into Stanley Kowalski's sense of loss and desire. You can tap into a reservoir of emotion that you have and use it to animate your character on the page. You can also use your experience in the plot or setting. You can delve into experiences of trauma or joy. Joy is actually harder to write about. Liz took her own experience of trauma and damage and translated it into an experience for her character, Cass Neary. To access a character deeply, these are the things you need to find in the character and in yourself (or in someone else). You should be looking for the things that make us human, the things that make us feel compassion for someone--in this case, the character.

Elizabeth Hand Elizabeth Hand is the multi-award-winning author of numerous novels and five collections of short fiction, including Wylding Hall, Fire: Essays & Fiction, Generation Loss and Waking the Moon. She is also a longtime reviewer and critic for the Los Angeles Times, Washington Post, Salon, and the Boston Review, among many others, and teaches creative writing at the Stonecoast MFA Program. She divides her time between the Maine coast and North London, and has recently completed two novels, Curious Toys and the fourth Cass Neary thriller, The Book of Lamps and Banners.

The text of this recording is copyright © 2018 by Elizabeth Hand. The sound recording is copyright ℗ 2018 by Odyssey Writing Workshops.



PODCAST #114

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In 2018, Elizabeth Hand lectured at the Odyssey Writing Workshop on Secret Knowledge and Secret Wounds. In this excerpt, the first of two parts, she discusses how comparatively little of any writer might show up in a story. She advises writers to put more of themselves in their work. As they do, their work always gets better. Speculative writers think they can make everything up, and it will stand on its own. But most stories have some autobiographical element in them. She tries to get writers to think about why they chose to write this particular story. She realized how important her own experiences were to her writing after writing her first three novels. Her fourth novel, Waking the Moon, was based on her group of friends at university. It wasn't all true, but what people really related to was the voice of the character, an eighteen-year-old girl with a privileged background in a particular time and place. One moment in particular resonated with readers. Early on, the character, Sweeney, finds herself alone at college for the first time. She sits on the window ledge and feels desolation. Something happens to give her a bit of hope. That was based on a simple memory, when she felt lost and abandoned at college. It was easy for others to relate to. Everyone has felt lonely; everyone has been young. Because she remembered her own feeling of being alone and put it into the book, people responded to that. Tap into your own memories of moments of heightened emotion, whether good or bad, and put that on the page; that's what's going to enhance your writing. Your life experiences give you secret knowledge. People are interested in the mechanics of how things work. If you know something that most people don't know, that can be valuable material to include. So how do you do that? Liz will discuss this in part 2.

Elizabeth Hand Elizabeth Hand is the multi-award-winning author of numerous novels and five collections of short fiction, including Wylding Hall, Fire: Essays & Fiction, Generation Loss and Waking the Moon. She is also a longtime reviewer and critic for the Los Angeles Times, Washington Post, Salon, and the Boston Review, among many others, and teaches creative writing at the Stonecoast MFA Program. She divides her time between the Maine coast and North London, and has recently completed two novels, Curious Toys and the fourth Cass Neary thriller, The Book of Lamps and Banners.

The text of this recording is copyright © 2018 by Elizabeth Hand. The sound recording is copyright ℗ 2018 by Odyssey Writing Workshops.



PODCAST #113

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E.C. Ambrose was a guest lecturer at the 2018 Odyssey workshop. In this excerpt from her question-and-answer session, students ask her about setting and research. Elaine explains that her story "The Burning" is a prequel to her Elisha Barber series, so she knew it would be set in the rural English village where Elisha grew up, and it would be set when he was a child. Once she knew those basic facts, she figured out which elements she needed to include to convey the setting to the reader effectively. Asked about her research process, Elaine says many of her projects have started from research. This started back when she attended Odyssey as a student. One assignment required she research a setting. Doing that research made her a research junkie. Now she reads widely in nonfiction in areas she's curious about. When she finds something exciting, she dives deeper. Her current novel-in-progress, about a clockwork doomsday device, was inspired by a nonfiction book about an ancient Greek eclipse predictor found in a shipwreck. The footnotes led her to additional sources, and she drilled back to the most detailed source she could find. She's fascinated by material culture, by learning how people make things and what they make those things from. Asked how she budgets time for research, Elaine explains that when she finds a rabbit hole she wants to dive down, she may put it off until she's done with her current project. At that point, she researches until she has a person in a place with a problem. This visionary moment is the start of a book. Then she needs to develop a more refined notion of the milieu of the story and what things she needs to know, broadly. In a Medieval fantasy set in England, she needs to know what London was like at that time, how people lived, what the hierarchies were, and specific information about medieval surgery. Once she knows those things, she needs to stop reading and start writing. If she needs a detail, she just plugs brackets into the manuscript and makes a note to research later. After she finishes a novel, she needs to find a new rabbit hole. Asked whether she uses research for characterization, Elaine says she looks for information on how people lived and thought. Sometimes it's hard to be completely realistic; readers may not relate. But as much as she can, she tries to make her characters fit in the setting where they live.

E. C. Ambrose E. C. Ambrose, writing under the name Elaine Isaak, is the author of The Singer's Crown (Eos, 2005), and its sequels The Eunuch's Heir and The Bastard Queen, as well as the "Tales of Bladesend" epic novella series. As E. C. Ambrose, she writes The Dark Apostle series of dark historical fantasy novels about medieval surgery. The Dark Apostle started with Elisha Barber (DAW, 2013), described in a starred Library Journal review as, "beautifully told, painfully elegant." Additional volumes Elisha Magus, Elisha Rex and Elisha Mancer followed, with the final volume, Elisha Daemon, just released in 2018. Her short fiction has won the Tenebris Press Flash Fiction contest and appeared in the New Hampshire Pulp Fiction series, Fireside magazine and Uncle John's Bathroom Reader.

In addition to her novels, she has written how-to articles for The Writer magazine, nonfiction at Clarkesworld, and authored the Lady Blade fantasy writing column at AlienSkin magazine for three years. Her speaking engagements have included local chapters of Romance Writers of America as well as other writing groups, the World Science Fiction and World Fantasy Conventions.

Elaine attended the Rhode Island School of Design for three years, and studied speculative fiction at the Odyssey Writing Workshop, where she is pleased to return as an instructor. A former professional costumer specializing in animal mascots, Elaine lives in New Hampshire with her family where she works part-time as an adventure guide. In addition to writing and teaching, Elaine enjoys taiko drumming, rock climbing, and all manner of fiber arts.

Elaine's research interests include the history of technology and medicine, Mongolian history and culture, medieval history, in particular medieval medicine and the history of England. Her research and travel has taken her to Germany, England, France, India, Nepal, China and Mongolia as well as many United States destinations. In order to write the best books she can, Elaine learned how to hunt with a falcon, clear a building of possible assailants, pull traction on a broken limb, and fire an AR-15. She is eager to see where writing will take her next.

Visit www.TheDarkApostle.com or www.ElaineIsaak.com to find out why you do not want to be her hero.

The text of this recording is copyright © 2018 by E. C. Ambrose. The sound recording is copyright ℗ 2018 by Odyssey Writing Workshops.



PODCAST #112

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As a Skype guest at Odyssey 2018, Nisi Shawl answered student questions. In this excerpt, the second of two parts, Nisi discusses her writing process. She writes for 90 minutes, takes 30 minutes off. Asked how she connects characters to the political concerns that inform her work, Nisi says the personal is the political. She doesn't have to stretch far to find the political in the personal characteristics of a character. Authors can avoid didacticism but showing a political point in an unusual way. When authors have a wall in their hearts between what they think and what they feel--that's when a story can feel didactic. Asked when a writer should write the other and when the writer should leave the story for others to tell, Nisi advises thinking about what you have in common with the protagonist. Is the story being told from the point of view of an outsider at some sort of disadvantage in the culture? Is it the story of someone who is deeply invested in culture? Or of someone clueless about it? How do you align with your protagonist? Is he acting the way you would? Who else has been telling this kind of story and who else has been talking about the kind of difference you're hoping to represent? How do they align with that difference? If this kind of difference has always been represented from the outside and you want to change that and represent it from the inside but you're not an insider, you've got a lot of work to do and may end up making the differences exoticized even more than they have been, misrepresenting the situation by errors on your part. Nisi recommends writers look at the questions asked by Hiromi Goto in her speech at Wiscon.

Nisi Shawl Nisi Shawl wrote the 2016 Nebula finalist and Tiptree Honor novel Everfair, an alternate history in which the Congo overthrows King Leopold II's genocidal regime, and the 2008 Tiptree Award-winning short story collection Filter House. In 2005 she co-wrote Writing the Other: A Practical Approach, now considered the standard text on diverse character representation in the imaginative genres, and the basis of her years of online and in-person classes of the same name. She is a founder of the inclusivity-focused Carl Brandon Society and has served on the Clarion West Writers Workshop's board of directors for nineteen years.

Shawl's dozens of acclaimed stories have appeared in Analog and Asimov's Magazines, among many other publications; most recently her "Everfair-adjacent" story "Vulcanization" was selected as one of twenty offered in Houghton Mifflin Harcourt's Best American Science Fiction and Fantasy. She has edited and co-edited several fiction and nonfiction anthologies such as Stories for Chip: A Tribute to Samuel R. Delany; and Strange Matings: Science Fiction, Feminism, African American Voices, and Octavia E. Butler; both finalists for the Locus Award. Currently she's in the final stages of editing New Suns: Original Speculative Fiction by People of Color, to be published this fall by Solaris.

The text of this recording is copyright © 2018 by Nisi Shawl. The sound recording is copyright ℗ 2018 by Odyssey Writing Workshops.



PODCAST #111

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Nisi Shawl answered student questions as a Skype guest at the 2018 Odyssey Writing Workshop. In this excerpt, the first of two parts, Nisi discusses the problems she had to overcome to improve her writing. She was a "plot-challenged" writer and had to practice by distilling the spines of plots she admired. This technique involves summarizing a story so you can understand where each plotline comes from and drawing a graph of each character's experiences. Nisi also found readers unable to understand her stories. She used to be too elliptical and have characters talk around things. She needed to learn to throw readers a bone--explain things to them and more than once. It can sometimes feel like she's hitting readers over the head, but that's what works. When a student asks about situations where the author wants to maintain ambiguity, Nisi says that ambiguity should not be about what happens but about what story means. You need to be clear about what happens, but you can leave up to interpretation what events mean. Those two big things--plot and clarity--improved her stories a lot. Asked about a story she wrote based on a prompt, Nisi explains how she went from prompt to character and situation.

Nisi Shawl Nisi Shawl wrote the 2016 Nebula finalist and Tiptree Honor novel Everfair, an alternate history in which the Congo overthrows King Leopold II's genocidal regime, and the 2008 Tiptree Award-winning short story collection Filter House. In 2005 she co-wrote Writing the Other: A Practical Approach, now considered the standard text on diverse character representation in the imaginative genres, and the basis of her years of online and in-person classes of the same name. She is a founder of the inclusivity-focused Carl Brandon Society and has served on the Clarion West Writers Workshop's board of directors for nineteen years.

Shawl's dozens of acclaimed stories have appeared in Analog and Asimov's Magazines, among many other publications; most recently her "Everfair-adjacent" story "Vulcanization" was selected as one of twenty offered in Houghton Mifflin Harcourt's Best American Science Fiction and Fantasy. She has edited and co-edited several fiction and nonfiction anthologies such as Stories for Chip: A Tribute to Samuel R. Delany; and Strange Matings: Science Fiction, Feminism, African American Voices, and Octavia E. Butler; both finalists for the Locus Award. Currently she's in the final stages of editing New Suns: Original Speculative Fiction by People of Color, to be published this fall by Solaris.

The text of this recording is copyright © 2018 by Nisi Shawl. The sound recording is copyright ℗ 2018 by Odyssey Writing Workshops.



FOR PODCASTS #1-22, CLICK HERE.

FOR PODCASTS #23-44, CLICK HERE.

FOR PODCASTS #45-66, CLICK HERE.

FOR PODCASTS #67-88, CLICK HERE.

FOR PODCASTS #89-110, CLICK HERE.

 

 

 


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