Graduate Essay: “Footnotes & Fetuses: Exploring Unusual POV Modes” by Barbara A. Barnett

Barbara A. Barnett is a writer, musician, orchestra librarian, coffee addict, wine lover, and all-around geek. Her short fiction has appeared in publications such as Lady Churchill’s Rosebud Wristlet, Beneath Ceaseless Skies, GigaNotoSaurus, Fantasy Magazine, Intergalactic Medicine Show, Daily Science Fiction, and Flash Fiction Online. A 2007 graduate of the Read more

By Odyssey Editor, ago

Graduate Essay: “Into the Deep End” by Malcolm Carvalho

Malcolm Carvalho is a graduate of the 2021 Odyssey Writing Workshop.  He writes science fiction and poetry. His work has been featured in several literary journals and magazines, including 365 Tomorrows, Kitaab, Bengaluru Review, and Muse India. Most recently, his poetry has been featured in the anthology A Letter, A Poem, A Home. He blogs at grainsofthought.wordpress.com. He also facilitates poetry workshops and performs improv comedy in his adopted city, Bangalore.

Malcolm was the 2021 recipient of The Quantum Entanglement Scholarship. Funded anonymously by an Odyssey graduate, The Quantum Entanglement Scholarship provides support to an outstanding writer of science fiction each year. The scholarship awards $1,000 toward tuition.


When I came to Odyssey, I had made a small list of the skills I wanted to work on. I wanted to focus on creating stronger characters and better plot resolutions. I wanted to know what I was missing in my stories.

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Graduate Essay: “Odyssey: A Storytelling Jumpstart” by Katherine McMullen Yañez

Katherine McMullen Yañez is a graduate of the 2021 Odyssey Writing Workshop. She holds an MFA in Creative Writing from Bluegrass Writers Studio at Eastern Kentucky University. Her work has been featured in Parhelion Literary Magazine, Aurora Online, and in the short story anthology from KY Press, Scary Story: An Anthology. Her short story, “The People Tree: An American Fable” was nominated for Best of the Net. A proud native Kentuckian, she is currently freezing her @ss off in Northeastern Ohio.


I applied to Odyssey when my writing had come to a stand-still and nothing I tried was able to jumpstart it. Convinced I had writer’s block, I hoped the frantic pace and harsh deadlines would spur me out of my rut. Within the first few days (maybe even hours!) I realized I didn’t have writer’s block—I just sucked at plotting. My writing was stalled because I didn’t have a firm grasp what the events of the story were supposed to be. Having an MFA degree, it was humbling to realize I was lacking in such fundamental aspects of story.

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Barbara Ashford

OdBlog Flashback: “Don’t Lose Sight of the Big Picture” by Barbara Ashford

This winter, Odyssey Online is once again offering the course “Getting the Big Picture: The Key to Revising Your Novel,” taught by Odyssey graduate and award-winning novelist Barbara Ashford. The following essay, in which Barbara shares some of her insights on the topic, was originally published here on December 1, 2018.

The application deadline for this winter’s Odyssey Online courses is December 6, 2021.


barbara ashford

Barbara has been praised by reviewers and readers alike for her compelling characters and her “emotional, heartfelt” storytelling. Her background as a professional actress, lyricist, and librettist has helped her delve deeply into character and explore the complexities of human nature on the stage as well as on the page. Her musical adaptation of Far from the Madding Crowd has been optioned for Broadway.

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Graduate Essay: “Adventures in Emotional Craft” by Sam Weiss

Sam Weiss is a graduate of the 2007 Odyssey Writing Workshop and the 2021 Odyssey Online class Emotional Truth: Making Character Emotions Real, Powerful, and Immediate to Readers.” She is an applied mathematician who works in Boston with her husband and two cats. Her first professional sale, “There Will Be No Alien Invasion,” was published in Fireside in August 2021.


When I first started writing, I got a lot of “pretty writing but this isn’t really a story” critiques. I didn’t have a clue how to fix those stories or even what underlying problem those critiques pointed to. Once I wrapped my head around active main characters working toward a specific goal, obstacles, causal chains, and the framing of character change, those criticisms abruptly stopped. My stories fared better in my attempts to publish them (and caused less pain to those reading them), but I acquired a new set of criticisms: that my point of view was too distant, that I was telling and not showing, that I was showing but not telling, that the emotions my characters felt seemed inauthentic or inappropriate for their situations, or that the emotions were too on the nose.

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By Odyssey Editor, ago