lydamorehouse: (Default)
 I sent in a proposal to the Loft on May 13 for upcoming classes. I happened to check Submittable for something else and discovered it was already rejected. Apparently, my being "talked to" by my boss was not enough to satisfy powers that be (namely a certain summer session "instructor.") 

This is going to be a MASSIVE financial hit for my family.

So, now my question is: how I do this? Is there a market for classes by me? I don't know. If so, what format would they even take? Have any of you done this sort of thing--just taught a class that you ran out of your home or a library or online?? I'd love some advice (and/or sympathy.)

I feel like the biggest irony is that when it all first came to light in the summer, Shawn wanted me to just tell them I wouldn't co-teach, to break my contract. Can you imagine? I mean, I guess this has just turned into a slow death and that would have been a quicker way to get the same result, but damn.

This sucks.
lydamorehouse: (Default)
Wilow (a black cat draped sadly over the radiator) thinks Mondays are hard.
Image: Willow (a black cat draped morosely over the radiator) wants you to know that Mondays are hard.

Since Rhubarb has joined our crew, Willow makes many more "tired of your crap" faces than I swear she ever used to. Either that, or she's turning into Garfield, the cat (in)famous for his hatred of Mondays.

I just finished up reading and critiquing the student submission for tonight's class and now I need to sit down and seriously consider what I want to talk about. TECHNICALLY, I have a syllabus, but I very intentionally made it vague when I proposed it so that I could change my mind about what I want to teach, session to session. According to the syllabus, I'm supposed to talk further about plot. I could do this, since we only scratched the surface of the idea of plot last session, but I am contemplating whether or not I have ENOUGH I want to say about it. I have not yet drawn this set of students my inverted version of the rising tension arc, so there's that.  We've also not really discussed the various ways in which story structure can be decolonized, something I have a lot less experience with writing, but which I should probably mention?  I dunno. I may spend part of the afternoon reviewing some sources and decide if I have anything I actually want to say about any of it or if I just want to throw together a resource list and have the students do their own reading on the subject. 

Think. Think. Think, as Pooh Bear is wont to say. 

Anyway, that's me? I spent much of the weekend working on a sea-themed (mostly sharks!) quilt for a friend out in California. 

How's you? How was your weekend.
lydamorehouse: (Default)
 The first thing I want to report is that I revised a short story I've been working on for a shared-world anthology, and have now sent it off to my second writers' group for critique. Hooray!

Secondly, it seems that my Loft Zoom class is finally settling into a good rhythm, I think. We had a great class last night, at any rate. I was actually able to prod people to talk, possibly because I like to teach plotting by using my own failures to create story as an example. I have a very specific story idea that should work, but refuses to gel that I will trot out for class. I think people generally like to offer advice, and so when I say, "Please help me fix this broken thing and let's talk about why it's broken," works actually fairly well as a method to get people to really think about what elements have to come together to start a story.

Then, I had them watch a YouTube video recording of Kurt Vonnegut talking about story plots, so we pretended we had a posthumous guest lecturer.  

The last half of the class was the first time we rolled up our sleeves and started critiquing and that went very well, as well. Like I say, a success all around.

In other news I am putting the finishing touches on the sheep + octopus quilt and then it will be on to the next one, which will be deep-sea themed.

deep sea fabric
Image: deep sea fabric
lydamorehouse: (ticked off Ichigo)
 Continuing the list of "Things That Probably Prove That I Have Never Grown-up," I absolutely FAILED to remember last night in class that adults are afraid of their own dumb ideas. I mean, I'm guessing? But, I suspect that's what happened.

Picture it: there I am writing up my notes for class lecture yesterday.  I feel especially clever because I am organizing my lecture about hooks/beginnings in a 5-W's fashion: Who, What, Where, When, Why (plus How.)  I get to the HOW part and I'm like, yeah, I could list examples of what it's like if you start with an image, dialogue, in the middle of the action, etc., OR I could pop open a whiteboard and see if the students can help me come up with on-the-fly examples.

Class notes, in which I realize, too late, that whiteboarding is a bad idea.
Image: Class notes, in which I realize, too late, that whiteboarding is a bad idea.

In class, as silence is stretching, I cross this off my notes and write in all caps "BAD IDEA!!"  I totally forgot that I am atypical. Not just of a human being, but especially of a Midwesterner/Minnesotan.  I will totally shout ideas from the back of the Zoom room with zero concern that they be any good. Most adults even when told "no idea is a bad one, let's just brainstorm," utterly freeze up and try to be a small, harmless animal who will no longer meet the eyes of the predator in the room, aka the teacher, ME.

OMG, what a disaster. I mean, at least it was only 15 minutes of excruciating silence and some technical difficulties. 

To be fully fair to my students, some of them did pipe up. Because I didn't require them to actually shout out their ideas, things did appear on the board now and again sort of mystically. It'd be like PAINFUL SILENCE, PAINFUL SILENCE, Me: "Oh, here's one! Ah, this is really good, thank you to whoever put this up... so, um, here's another one from me, I guess?"

But, WOW, it was not the energy building, bonding exercise I'd hoped for. 

I'm learning things! Just when you think you know everything about how to teach, the universe reminds you that, nope, you have to keep adjusting and shifting with each new classroom. 

I will say, though, that thanks to my super organized lecture notes, class went fairly well otherwise. The first half, anyway. I was expecting to need the full second hour of class to teach critique, but it turned out that I either didn't, or was not as good going off the cuff about it as I thought I would be, so we had a solid half hour at the end where I ended up just answering random questions about writing and submitting to agents and editors. I don't think that's terrible, but it always leaves me feeling like I was just scrambling and fumbling by the end. 

At least next class we will be starting workshopping in earnest, so there is hope that I will regain my student's respect after that.
lydamorehouse: (Default)
 My octopus quilting panel
Image: My octopus quilt panel. (And yes, before you ask, we ARE still receiving discs from Netflix.) 

Tonight is my first Loft class. I got a note on Saturday that I achieved the magical SIXTH  student. When last I wrote, I was up to five, I believe. Five had made my class considered 'low attendance, viable," but six is the magic number needed to make it "regularly  viable." This only important to the Loft and how I get paid. The Loft has weird rules.

After dropping Mason off at the airport for his flight back to Wesleyan University in Connecticut, I have been organizing my thoughts for the first class. 

I find it pretty fascinating that these days, when I say I have a class I'm teaching at the Loft, a lot of my friends will ask, "So what are you teaching?" as though I might be teaching something other than how to write science fiction and fantasy. To be fair to my friends, I could be teaching something hyper-specific, like, I dunno, "developing characters for a cyberpunk world," but, alas, I'd say it's just the same old, same old, except it's never that, even when I'm going over some of the same material I've been teaching for years. The thing about my teaching style is that it is highly flexible. I always have a syllabus, of course, but my first entry in the syllabus is "this syllabus is a lie," because my goal is ALWAYS to tailor the class to the student's needs. I am hoping that with six people we can form a solid, highly participating group of people all working out how the magic of writing is accomplished together.

We'll see how it shakes out.

Anyway, wish me luck with that. I am feeling strangely unsettled about the class, probably since the last time I taught via the Loft it was such an utter disaster. (see: summer teen class.)

Otherwise, I've been feeling a yen to draw again, ironically inspired by a minor kerfuffle going on over at Facebook, which caused me to post a side-by-side comparison of one of my favorite redraws of one of Tite Kubo's panels from Bleach. Now, I'm like, jeez, I should get back into all that. The hardest part, of course, is finding time to draw. On the other hand, now that I've figured out how to print my own, I can totally use my postcard project as my excuse to do some original art.

I started this post with a picture of my current quilting project. I'm actually adding these octopus panels to a quilt that is already populated with sheep, since I am hoping that it turns out well enough to gift the quilt to my friend Eleanor, who writes a lot about Icelandic sheep and, of course, octopuses. 

That's kind of everything. Anything interesting going on in your lives??
lydamorehouse: (Aizen)
My set has been having a lot of discussion about a Twitter thread that popped up a few days ago by S Qiouyi Lu: https://twitter.com/sqiouyilu/status/1560229177915166720 that was at least partly inspired by this Tor.com article: "The Ghosts of Workshops Past..."

I never went to Clarion, so I can't comment on that experience, but I've been teaching writing with a heavy focus on "workshopping" at the Loft for over twenty years now. I have a lot to say about the Milford style, as it's called. 

If you're unfamiliar with the term Milford when applied to critique, it's got a few basic "rules." The author stays silent (the "gag rule") while the critiquers speak.  Each person reads/says their critique, out loud, and is limited by some amount of time, typically five or ten minutes, depending on the class size. Sometimes the critique facilitator will use a bell or a buzzer to move to the next person. At the end, the author gets a chance for a rebuttal, but it, too, has a strict time limit. 

This model has been under fire lately for a lot of good reasons. I've attended an Anti-Racist Workshopping lecture through the Loft (actually taught by the woman who wrote the book referenced in the Tor.com article) and I've been thinking about changes I can implement in my classroom over the last several months since. I will get to those, in a bit, because first, however, what I want to talk about is my sense that one of the big failures of Milford isn't NECESSARLY inherent in its structure, but my sense that there are facilitators, instructors, teachers, and professors out there NOT doing their jobs. 

This article from 2019, "Unsilencing the Writing Workshop" is also going around, but I could only get a few paragraphs in before I blew a gasket. The readers of this person's submission got lost in the weeds about dim sum. It's insane to me that they didn't know what dim sum is, but it is ERGREGOUS that they spent so much time debating it. Reading the description of that moment gave me flashbacks to moments like this in critiques I've had, etc., but it also triggered my inner writing instructor who would have broke into that bullshit and said, "Chad! Stop talking! This is not constructive. You don't have good friends who take you out to yummy food and I'm deeply sorry about your life, but it's time to talk to Beth about character, setting, plot, and STOP CIRCLING THIS PARTICULAR DRAIN."

And that just made me wonder, in all of this talk about Clarion experiences and critique, WHERE are the instructors?

First of all, they should be teaching people how to not do this terrible stuff.

There is mistaken idea out there (which has a corollary in writing in general) that anyone who reads can critique. (The corollary being that anyone who can string sentences together can write effective prose). Critiquing well is actually a skill set that needs to be learned with the same kind of care given to learning the craft of writing. 

An instructor should be doing a bunch of things before the first critique session, not the least of which is setting up expectations.

When I teach my writing class, I spend the first half of the class before our first critique explaining not only the nitty gritty of how it will work (like, who hands out when, how long a piece can be, what the requirements for class are, etc.,), but then also talking about expectations. Some of the expectations I tell my Loft students before they begin to write critiques are things like: I expect you to help this author write the best story that they are trying to write, not the story you would write. We talk about this one often for a long time, because it's important to understand how to meet someone where they are.  I really think that this goes a long way toward decolonizing the classroom, because if you remind students that their job is to help the writer tell their story effectively, you are shifting the focus away from some "idealized" version (which is often bland, white, middle class, MFA writing) towards a personal expression of someone's own authentic story, in their own voice. 

Likewise, I tell my students that as part of helping people tell the story they are trying to tell, I expect them to read all the genres that are handed out, even if they're not ones that they particularly like or even feel they understand the rules of. However, I tell them that they can start a critique of a mystery story, for instance, by saying "I am not normally a mystery reader..." and then try to talk to the author about the basic story things that worked, i.e., "the dialogue felt very natural," or didn't, i.e., "The description of the murder scene was confusing because I could not picture how the body was positioned and that seemed to be critical to the detective solving the crime." 

In my class, because I teach working adults, I also tell them that they are always allowed to say "pass" when critique comes to them. What I say is, "We are all adults here. Sometimes life interferes." Then, I explain that I will never ask them why they are passing and no one else is allowed to either. I am explicit, though, that it's actually OK to use a "pass" for stories that triggered something for them or in a case where they just could NOT figure out how to tackle what was wrong in a piece. I caution them, though, at this point, that while it okay to "pass" when necessary, this class runs on the idea that you get out of the class what you put into it. So, if your critique every time is either pass or "it was okay, I guess," then you can't expect more than that from your colleagues when your story is up for review.

I also have some other expectations that I feel make the critiques run more smoothly. One is that we don't waste time on grammar or spelling errors. My class happens once a week, so people have a lot of time to read and mark-up (either on the actual paper if we are meeting in person and handing out or electronically,) and so they are allowed to red ink as much as they like on the person's manuscript. But, they can only mention grammar or spelling in passing if they feel that it got in the way of the story. It can NOT be the focus of their critique. I remind them if they are aiming for professional publication grammar and spelling are the purview of the copyeditor anyway. Editors and writers do not sweat the small stuff. 

I tell them they don't have to repeat anything six other people have said. They can just acknowledge that they had the same issue and move on. 

I always remind them of the golden rule, which, in this case, translates to: talk to someone about their writing the way you want to be talked to about yours. Always assume best intentions (that bit of sexist dialogue might have been an honest mistake or blind spot and not malicious intent, after all!) and always assume the author is as smart as you are (yes, they know ain't ain't a word, but are using it intentionally here for effect), speak to them from that place.

Then, after we talk about all these expectations, I ask them if they have questions or concerns. We set up what kind of critique environment we want together.  Often, students want to know if they can add an artist's statement on the front of their story or novel excerpt to help forestall some issues, ala, "I am writing wet Venus. I know the science is bad, but I'm going for a retro, space opera vibe..." and can they ask people to answer specific questions, like, "I am experimenting with not saying what gender Captain Xanoth is, does it work for you?" THIS IS ALWAYS OKAY in my classroom. 

Again, this was one of those things that was discussed in my Anti-Racist Workshop that I would have thought was kind of standard, which is allowing students the freedom (and responsibly) to direct the kind of feedback they're looking for by being able to frontload these questions before people even start thinking about critiquing.

Then, after all of this... and it is usually a full hour of discussion... we start talking about how to critique effectively. I talk about an approach that I learned long ago that still works surprisingly well, which is, if you have the time, read the manuscript twice. The first time, read it like you would any story. When I am marking-up stories on paper, I will use a different color ink for each read, and so my first read comments will be things like "Ah. The villain is on scene," sometimes followed by "Wait, she's not the villain... okay, are there two villains??" and the kinds of random thoughts you go through as you read. I tell my students that it may seem silly, but it can be really helpful for the author to know what people are thinking as they read, like if they are trying to guess ahead on a story with a mystery revealed, like when do they start picking up the clues. 

The second read is the red pen read. I think about how, now that I know the ending, how well that ending is reflected in the beginning (of the short story or novel chapter, if appropriate.) Now that I have a sense of who these characters are, I look at their dialogue and offer suggestions about whether or not there are ways in which that could be done more effectively to imply the personalities of those people. Like, you find out half way through someone is a doctor, maybe there's a way to signal that earlier with how they talk about certain things, etc. 

 I also require my students to write up a summary of their thoughts that follow a very specific structure: first impressions, strengths, weaknesses and a final impression. The idea here is that you have a summary! There's no way to waste your ten minutes (if you have to be on a strict schedule) floundering around trying to say something substantive.

The reason I have them start with strengths is for a reason, too. Part of learning to workshop is learning to hear what is wrong with what you've been trying to do, and I find that's impossible if you have no sense that you did ANYTHING right. If you start with the good stuff, "I loved that moment when Aunt May told Peter that she thought the secret in his closet was chiffon!" then when you inevitably have to say, "This is Spider-Man fan fic? It's never going to sell to Uncanny" that latter part lands more solidly in the author's head. Also, I think this structure helps delineate the space between unnecessarily cruel and brutally honest. If you've told someone that you really like the way they do dialogue, then it's a bit easier to have a frank discussion about that one moment of sexism? 

I assign homework that teaches people questions they can ask themselves when critiquing for the first time. I always point them to this marvelous resource: https://web.archive.org/web/20190820204915/http://www.crayne.com/howcrit.html

If I have not gone overtime in my class, I will sometimes just go through some of the questions on Victory's list to show people examples of the kinds of things they can ask themselves while doing that second read-through.

The last thing I want to say is that MY JOB AS WRITING INSTRUCTOR does NOT stop here. You do not then get to abdicate responsibility as the facilitator or instructor. I always set up the first critique session by saying "This is the only time I will go first. I have found that when an instructor leads critique, the critique that follows is often a lot of 'ditto' because people are afraid to express opinions that run counter to the instructor's and that's actually not useful? An author needs to honestly hear everyone's impression. BUT, I will lead the first time because students need to understand the level, tone, and rigor I expect." Then, even when I start go last, I have my finger over the mute button if I need to stop someone and yell, "Chad! Enough with the micro-aggressions. You have talked enough about how you think dim sum must be 'something Asian, maybe?'  We will have a discussion at the top of the next class that explains why that's not okay. I'm sure you were just trying to find something to say in critique, but this is not actually helpful anymore. If you have something ELSE to say about the story structure or dialogue to Beth, please do. If you don't have anything more of substance to say, we are moving on to Carol..." 

THAT'S MY DAMN JOB.

If you are a signing up to be a facilitator and not a teacher, it's STILL YOUR DAMN JOB. 

It's really hard, but teaching, like critique, is something you have to learn to do well. 
lydamorehouse: void cat art (void cat)
 Many of you have been following the saga of my class at the Loft in the access-only bits, but I think I can bring this story out into the light of day now, since I have mostly positive things to say about how the class went. 

I am still very thrown by how casual the Loft has been, in general.

Like, no one met me when I got to Macalester, which is kind of amazing, given that this is the first time anyone from the Loft has used this venue. Similarly, there was no reminder sent with classroom information or a campus map or guide to parking. I ended up having to find all of that on my own, which... was FINE? But, kind of goes to my general complaint here.

I will say that despite some assurances by the Loft that I might actually see the program coordinator, I never did. She did, however, change the course description as I had asked, to be clearer about how the students' day will be structured. https://loft.org/classes/summer-youth-week-one-not-just-zombie-apocalypse-more (go to the very end.) 

In fact, one of the students' parents pulled me aside and said, "It kind of looks like there are two different programs here? My son is really only interested in science fiction, can he leave halfway through?" I told this parent, "You absolutely can." Because I don't see why they couldn't? To be fair to this dad, I'm pretty sure that particular child will beg to stay because I noticed that he, in particular, seemed to be having a very good time? We will see what happened tomorrow.

But, okay, the class went pretty well. Like a lot of Loft classes, students kind of drifted in anywhere between a half hour PRIOR to class and a half hour after class had started. This is just how Loft classes are for some reason? But, that did dilute my ability to be super clear with everyone about how their day will go, but I think enough of them got it not only once, but twice. 

After that? I just did what I normally do, which is wing it. I asked everyone to do introductions and pronouns and a conversation just naturally started around the question "Why are most protagonists actually the character you like the least? Like, why are they so stupid?"  Because, narratively, there is a reason for that, right? Like, the main character is often the person who is introducing a science fictional or fantasy world to the reader and if they are an outsider or kind of dumb about their world, that's an opportunity for the readers to learn what THEY need to learn, but through the protag's eyes. I could see some lights actually going on in the room already at this point, so that was gratifying. I then played "a game" that I basically made up on the spot in which we talked about another problem that some main characters have, which is that they're kind of overpowered and how you can solve that problem in the design phase, if you consider the "cost of magic." So we listed superpowers on one half of the board and "costs" on the other and had fun matching them up in silly ways, and then I asked them to write a story either based on the prompts (or, as it happens, anything they liked.)

I floundered a bit after that because I really like the class to be self-directed and so it took us all a bit of time to figure out what else might be a fun topic to tackle. I tried talking to them about story structure, but that seemed to lose them a bit.

So, I hopped over to hooks. We came up with a bunch of different types of hooks: opening lines of dialogue, an action or an image, and a question. This was fun because some students went hyper specific and some went broad.  This one seemed to be the thing that pulled them in the deepest. So, clearly what they like is coming up with story prompted based around some part of writing (like, in this case opening hooks) and then getting a chance to write on that topic. Since they were so deep into this one, I tried one as well. (At the ends of these classes I always end up with a ton of half-started stories based on various prompts.)

I ended the class with two rousing games of sentence stories (you know the one, where you build on the previous sentence), which everyone seemed to enjoy.

As for the make-up of my class, it's mostly young women. This has been an interesting demographic shift. When I first started teaching SF/F (almost *cough* 20 years ago), I was often the only woman in the room. Now, it's the men who are in the minority. Not surprisingly, a fairly large number of students  also used they/them pronouns (though they all seemed surprisingly flexible? There were a number of she or they, for instance.) There were small number of visible POCs? At least two of the young women had Southeast Asian given and surnames and another had a typically East Asian surname. So, the Loft is diversifying a bit more than it has in the past, though it's still not doing great with only three out of twelve. 

That's the other last thing of note. As is typical, I picked up two extra students last minute. So, I have an even dozen. 

I met the other teacher at noon. I mean, she seems nice? I wasn't expecting her to be sprouting horns or anything, but, yeah, I have no idea how things are going at the end of the day here, but I'm sure it will be FINE. To be fair, one of the first questions one of my students asked me is, "Is this going to be like school?" And, I said, "Yes and no. I will try to impart some knowledge, but there are no assignments or quizzes and nothing I ask you to do is required."  It seemed to be the general consensus, too, that what they wanted was more of a summer camp vibe, but that's still easy enough for me to provide. 

The bonus of being an on-the-fly teacher who doesn't have any requirement to impart any real or lasting information is that I can just be like, "Games? Sure, let's just do games!"

TEENAGERS!

Nov. 17th, 2021 04:34 pm
lydamorehouse: (ticked off Ichigo)
 Today was the first of my volunteer stints with Q-Quest, the Saint Paul Public School's GSA (Gay/Straight Alliance) queer festival. It was exactly the unrestrained chaos I thought it would be? 

I suspected my topic might be popular. I decided to offer a workshop version of a class that I had a lot of success with at the Loft with teens called, "Capturing Kudos: Tips for Improving Your Fan Fic." 

There were well over 30 participants, some coming in in groups, others signally. I was supposed to have a volunteer host who would be helping me manage the chat and letting people in, but that person either didn't show or chose not to be of much help??  I'm going with the first, since it's kinder, but the chaos might have been slightly less if I wasn't doing introductions, while answering the flurry of beeps as more and more students joined the Google Meet. 

So, I mean I feel like it could have gone a little better? But, the fact that the group (did I mention--over 30 students!!??) were self-organizing a Discord for queer fans makes me figure I basically did a good, even if I lost control of the conversation really fairly early. Not that they really had to fight me for it? I asked students to unmute and talk amongst themselves and so they totally did. In fact one of the students decided to self-appoint themselves as moderator of their Fellow Youth (TM) and I stepped-back and let them. As I told them, this isn't a class; it's their time to make of it what they want. If they wanted to spend 45 minutes squeeing at each other about fandoms... GO!

And that's basically what they did and then they spontaneously organized themselves.  

It was actually fairly cool to watch? 

Tomorrow: Middle Schoolers.  I have slightly less faith that they will be as self-directed, but I can hope. if not, I have an actual power point presentation I can deploy. 

I feel deeply organized today, however, because not only did I prep and launch the chaos workshop, but I am also ready for my critique group tonight having read and commented on the two other people (besides myself) who are under the microscope tonight. Our new group finally decided on a name, too. We are now the Pen Dragons, which is a name I am sure others have thought of, but we're going with it for now. 

Oh, and then I also went off to the library to pick up a bunch of books I put on hold. In case you're wondering what's on my TBR pile, it is:

TROUBLE THE SAINTS  by Alaya Dawn Johnson (Tor)
THE MIDNIGHT BARGAIN  by C.L. Polk (Erewhon/Orbit UK)
MEXICAN GOTHIC by Silvia Moreno-Garcia (Del Rey/Jo Fletcher UK)
THE ONLY GOOD INDIANS by Stephen Graham Jones (Saga/Titan UK)
WHAT STRANGE PARADISE  by Omar El Akkad (Knopf)

I even started reading What Strange Paradise... WTH. Who even am I??  SO. ORGANIZED.

Now I just have to try to somehow stay awake until the meeting tonight. Wish me luck!

So, it is Wednesday? What's on your TBR shelf? What have you read recently and enjoyed??
lydamorehouse: (Default)
 Once again, I must apologize for not keeping up on my journalling here. 

It's tempting to lie and say that not much has been going on, but, the truth is, I've been really busy.  I mean, again, I don't mean that I've been running around in the traditional sense, but there have been a lot of projects I've been working on.

First, I wrote a short story for a friend of mine's anthology. I actually have no idea if you're going to be able to even buy this anthology or how it's gong to work, but I said "yes," because this year (by which I actually mean 2021, the up-coming year)  I am looking for ANY excuse to give myself a writing deadline. The anthology's parameters are: it's supposed to be a hopeful story and, if possible, reflect some aspect of the pandemic. So, I wrote a very low-stakes story about female friendship in isolation--a woman working alone in deep space who ends up in an accidental correspondence with a stranger. I'm personally really quite pleased with how it turned out.

I'm just finishing some revisions, but that one is done.

Kate Johnston and I just finished up our second week of the class for readers called: "Reading the (Whole) Room: Race and Queerness in Science Fiction and Fantasy." That's been... in someways a lot less work than the asynchronous class, and in some ways more?  Since this class has a set time and place, I'm finding myself better able to keep class prep to a more reasonable amount of time, but I also expend a lot of energy in the actual teaching of the course, if that makes sense? Figuring out how DOES class on Zoom is it's own thing--plus, I haven't worked with a co-teacher in a long time. 

But, that's every Thursday (except this one, of course, being American Thanksgiving.) It's only four weeks, so we are half done. 

There have been some interesting things to come out of class, not the least of which was the joy of getting to teach "The Secret Lives of the Nine Negro Teeth of George Washington," by P. Djeli Clark and go over his blog about the historical references in it with a fine tooth comb. There is so much about Black history that I simply do NOT know, like anything about Colonel Tye, a freed slave who fought as a Loyalist (for the British) during the American Revolutionary War. If you've never read Clark's blog post about his research (P. Djeli Clark is a pseudonym for Dr. D. Gabriel, a PhD in the history of enslaved people among other things, who teaches at the University of Connecticut) I highly recommend that you not only do it, but also follow all the links he provides: https://disgruntledharadrim.com/2018/02/27/on-slavery-magic-and-the-negro-teeth-of-george-washington/

So, learning all that as part of teaching has been AMAZING. 

But, I have also had the student who signed-up late, lost his internet connection, and wanted me (and/or the Loft) to basically photocopy the internet for him and follow-up with a personal phone call to me, in lieu of participating.... I mean, I feel VERY SORRY for him that he can no longer afford wifi, but.... this is an online course? I had to adult and tell him, "I'm sorry, but no." Between him and some of the other characters we have in class.... it's been kind of wild.

On top of all this, I am starting to outline a novella for another friend of mine's project. This one is going to be lesbians in SPAAAAACE--in my case, a kind of gender flipped Cowboy Bebop, but... darker? I mean, not as TRAGIC as Bebop, but there's going to be some space fascists to defeat because EVERYTHING IS A METAPHOR FOR 2020. But, the sort of high octane space battles and cyberpunk/terraformed Solar System with bounty hunters--a.k.a. the fun stuff of Bebop?--all that will be there, and more, because LESBIANS.

Plus, on a more mundane, day-to-day level, I've been having a grand time lately experimenting with lunches.  My family has generally been trying to eat more fish, so my lunch meals have all been various takes on things to do with whatever fish Kowalski's has on sale that week. We have eaten a lot of cod, and today I tried a recipe that included Bulgar wheat... which was more experimental than I normally go in for, but I had tremendous fun making and serving it to my family. (If people want it, here is the link: https://www.olivemagazine.com/recipes/fish-and-seafood/cod-with-tomato-olive-and-chorizo-sauce/)

I suspect that my family now looks forward to lunch with a combination of "Could be fun?" mixed with "What fresh hell is this??" I'm sure.  :-)

But, since it's lunch, it's really low-stakes. If they don't like it, they don't eat it. When there is lunch fail, I just make something hearty for dinner that has been a known favorite and everyone remains happy and healthy. 
lydamorehouse: (ichigo being adorbs)
I just posted on FB that I'm surprisingly busy for a pandemic.  

Wednesday this week will mark the opening of the LAST week of my asynchronous writing class at the Loft. I spent a good part of today doing some last minute video lecture recording and editing. I still have one lecture to write, because I am the Queen of last minute deadlines. 

I found out on Saturday that Thursday of this week will be the opening of my FIRST week of a four week Zoom class for the Loft that I'm co-teaching with Kate Johnston for readers called, "Reading the (Whole) Room: Race and Queerness in Science Fiction and Fantasy." Luckily, I've been doing some of the reading prep for this class since summer or I'd be in full panic mode right now.  

This new class is part of the Loft's new "night owl" program and STARTS at 10PM and goes until midnight. I may die. I, my friends, am a morning lark.

Then, I lost my mind an proposed a master level class for the following semester, so.

Meanwhile, I am trying to finish a story that I'm overdue on for an anthology. I tacked on a crap ending just to have AN ending knowing that I will not be able to stand that and will go back and fix it tomorrow. I still need to plot something due in February.

I'm not normally this busy when there's not a plague on. 

Plus, I've had to try to squirt this little yahoo with antibiotics every day. 

Void cat, having recovered from her needle incident, continues to blend into darkness.
Image: Void cat, having recovered from her needle incident, continues to blend into The Dark.

And, y'all, I don't know if I managed to say, but  we have a new president. 
lydamorehouse: (nic & coffee)
 Refrigerator pickles in a jar on the pantry window
Image: refrigerator pickles in a jar on the pantry window.

These are AMAZING, by the way. I actually "canned" (they're just refrigerator pickles) these on Thursday when we got the CSA, and I tried one yesterday... given that the recipe I used was a catch all that included the advice: "throw in spices, ya know, whatever tastes good," I am EXTREMELY proud of my efforts.  I now need to come up with something for lunch that uses dill pickles!  

But, under the category of "Honestly, I swear I do more than cook and eat," I heard from the Loft today. My intermediate science fiction writing class will be going into the catalog for the weeks of September 23 to November 18. This is going to be a fully on-line class, asynchronous, so it really won't matter where in the world you are. If you've ever wanted to take a science fiction writing class from me, 2020 might be your year.  The catalog is still in production, so I can't comment on how much it might cost you, but the Loft always gives out scholarships, so there's a chance you could take it for free or reduced. Also, my personal idea of "intermediate" is very loose. If you have written anything at all previously and are interested in trying to sell what you write, you qualify as "intermediate" to me. We will probably not cover much writing 101, unless it seems like the majority of students want/need that.  So, I mean, also know what a scene is? Generally have a sense of the difference between plot and theme?

I haven't taught an online course in some time, so I'm expecting that the Loft will point me to a webinar or two to get prepping for this.  Luckily, I have a few months to do what a lot of university professors and public school teachers had to do in a matter of days when COVID sent all their students home.  As someone who really prefers in-person teaching, I have the utmost respect for folks who made this transition so fast. I really depend on discussion (or have in the past,) so it will be a challenge for me to come up with ways to teach this remotely.  On the other hand, one of the things that I offer is critique of works-in-progress and, in some ways, doing that on-line might be even more rewarding for students. 

I guess we'll see.

I'm looking forward to it. Even if the class doesn't end up running, I think learning how the on-line stuff can be structured will be very good for me. I often skip offering on-line options with the Loft because I've been a bit daunted by it and just generally fall back on what's comfortable (ie, the fact that I'm such an extrovert that "winging it" often works great for me), so this will be a good learning experience. 

You gotta stretch a little, right?

In other news, the New York Times activities for tweens and teens section reminded me that I've been wanting to start an exchange diary with friends ever since I read My Solo Exchange Diary by Nagata Kabi.  The manga isn't about an exchange diary, since they are normally actually passed between friends and this one wasn't, but looking up exchange diaries made me realize that I'd read something like it in Wandering Son by Shimura Takako (although that one ends badly, because other people get a hold of the friends' exchange diary and all of them are sharing their secret trans and queer feelings.) At any rate, even though it was popular in the 1990s among Japanese school girls, I feel like it would still be a fun thing to try here at 53 with my American colleagues. The idea is cool. You just basically pass a journal/diary between friends. In Japan, they're intended to be a fun friendship bonding thing--people will decorate them with pictures and photographs, so they're kind of part scrapbook and part journal. But, I figure we can have ours be whatever we want it to be, though FUN is definitely the point. 

And, here, instead of food, is a picture of my cats being best friends:

my cats sharing the porch window, like besties
Image: Willow and Buttercup sharing the porch window, looking in opposite directions.

I had to choose this picture of the ones I took, despite the blurriness, because without Willow's eyes in the picture she just became a formless void.

So, how's by y'all? Eating or cooking anything good? Other stuff? Surviving the continued pandemic okay?
lydamorehouse: (ticked off Ichigo)
 Once again, I've been a terrible correspondent. 

This time my excuse is that I have been swamped with Loft work. Not only did my classes (one for adults, another for teens,) BOTH fill, but I also had two paid manuscript critiquing gigs in so many months. I haven't started teaching my teen class. That will be at the very end of this month and go, every day, for a full week. It's part of the Loft's teen writing summer camp. It's also a class that I look forward to every year, because--as odd as this may sound--teens are some of my favorite people. 

My adult class started last Thursday. I had a heard from the Loft while we were on our road trip that the class was "viable," (they consider any number at or over 5 or 6 to be so.) I remembered telling Shawn the news while we were in Michigan. So I'd been mentally preparing for all of that, but when we were home I could NOT find the email telling me the class was a go and I suddenly had a small panic thinking that maybe I'd mistaken the news for my teen class for the news about my adult class. I called the Loft, but no one was there yet. Luckily (though not for her), Shawn was home with a migraine and taught me a way to get Gmail to be more honest about ALL the messages with that subject and I found it! I not only needed to be reassured that I was supposed to be there, but the email also tells me approximately how many students to expect. The email said I'd have 7 people, and, having been through this a number of times, I prepared for 10.

When I showed up? The class roster had 11.

Then, someone signed-up THAT day and so I had 12.

That's nearly double and, for me, this was kind of a big mental jump. I was expecting a group no bigger than my writers' group and had thought I was going to be booked into the casual room, the "book club" room, and suddenly there's a FULL classroom of eager and yet, because adults, JUDGING eyes. Thus, my first class felt a little scrambled, a little cobbled together. Honestly? For that many more adults, I might have gone full author drag (which, for me, is a silk shirt, vest, and sometimes tie). Instead, I wore my "old man" shirt (a plaid short sleeved thing that looks like something Steve Rogers would wear on vacation.)

One weird thing that i have learned over the decades of teaching adults is that it is ESSENTIAL to establish credibility with adults. Because Loft instructors do not all have masters degrees (many do now, but I don't), it's really important to show up with a pile of your printed material and a long, long list of publications. Wearing a tie when you are a fat, goofy lesbian also helps a LOT. Makes me look like I am serious and that this is my JOB (which I am and it is, but you know....APPEARANCES.)

I have NO IDEA how the class went over, except that I did have a small crowd gathered afterwards excitedly talking to me about their fandoms and finally feeling like they weren't the weirdest person in the room (meaningful look in my direction, which made me burst into a huge grin and say, "Welcome home!.") That's USUALLY a good sign. I do worry that we have a lot to cover in four sessions, but this group seems very willing to leap right into critique. I already have 60 manuscript pages to read for Thursday night. I'm expecting 30 more pages, but we'll see. 60 is still a lot to go over in a 2 hour class. 

Good news, I won't be lecturing a lot.




lydamorehouse: (??!!)
 I'm trying a new crockpot recipe  I have varying success with crockpot things, but I wanted to have something going that would not require me to heat up the kitchen too much later this evening.  I had some skin-on, bone-in chicken breasts in the freezer (they were on sale) and so I found a kind of spicy Italian recipe that would only require me to make some spaghetti later to serve this over. I have no idea if it will be any good, but it's worth a try.

Shawn is home today. She woke up not feeling great--her tummy was bothering her, but just looking at her, I suspect a migraine is coming.  Unfortunately, as she's gotten older, she's been getting new symptoms for her migraines and upset stomach is now one of them.  So much for all those reports that claimed that, as she aged, migraines might become less severe. :-(

Meanwhile, I'm waiting for Mason to wake up so that I can take him off for his second driver's lesson.  We tried out a parking lot yesterday. He did actually very well, considering it was his first real time. The first few stops were panicked and jerky, but by the time we were done, he was getting the hang of a smooth stop. Turning was still a little baffling for him, until I took the wheel for a while and realized that part of the problem was that the wheel needs a certain amount of acceleration in order to turn itself back to true.  

I think that's been the most challenging part of teaching Mason so far. I have not had to articulate the mechanics of driving... ever, and there are so many things that, after decades of driving, I do completely unconsciously.  So, it's been a struggle to use all my words, as it were. Shawn found me a lovely parent guided course on-line, which has had some good ideas for how much we should try to cover in a single day.  https://www.teendriversource.org/learning-to-drive/practice-driving-lessons

The other big thing we did for Mason yesterday was get him a teen checking account. He now has his own debit card.  He'll have the ability to check his own statements on-line, etc. Shawn found him a check register, so he can keep track of his finances the old fashioned way, too.  

We are doing our best to get our teen ready for adulting, as the kids say.

I'm really glad we're starting some of this stuff now, when he'll still have plenty of time at home to work out any kinks, as it were.  Plus, I'm hoping that it will ease some of the natural desire for independence at this age. He'll have a good deal of freedom and discretion when it comes to his own money, and, eventually, he'll have the physical freedom to take the car to places.  

Oh, that reminds me. I'd better call our insurance company and get him added to our policy.  That'll be... expensive. 
lydamorehouse: (Default)
 The lake weekend was wonderful. I spent a lot of time, unplugged, staring out at our friends' garden watching the hummingbirds.  I managed to get a good picture of one:

A hummingbird sitting still for a photo. NO. REALLY.


Now it's the regular week and I'm trying to get back into the groove of things.  Today I took Mason back to Washington; he had a robotics planning meeting.  They're starting to look forward to next year, and there is some talk of a demonstration and/or competition of some kind at the State Fair.  (I can only be as clear and detailed as my son was to me, so that means: not very.)

Tomorrow, we are headed to the DMV to see if Mason can pass the written test and get his learners' permit.  He just took an official practice test and got a 90%. So, fingers crossed he can repeat that under pressure.

Otherwise, I'm trying to decide if I want to catch any Fringe shows this year. Last year, I went to see my friend [personal profile] naomikritzer do her thing and so I am now on the Fringe's mailing list. A lot of the people I know in SF/F fandom are also theater geeks, so a number of people I know are involved one way or another in Fringe... and some of their shows seem pretty interesting. Plus, it was fun to hit a show last year and I'm wondering if I should pick one or two and do it again this year. Since my family isn't up for it, I've found it easiest to pick a late night show and go.  

One year, I'd love to invest in a VIP pass and go to as many as I can fit in, in the week.

Meanwhile, I've been catching up on correspondence and enjoying not having as crazy a work schedule as I did last month. Tonight, for instance, I was able to make pot stickers (a family favorite) and not have to dash out the door to go to Roseville or some other place.  I've been working a LOT of Monday nights this last month and it almost feels weird to be sitting at home.

I haven't been feeling like writing ANYTHING lately, but I suspect that will pass. I think my brain is just doing a little 'reset' post-class. I got my evaluations from the Loft. Most are glowing or non-descriptive, but I had one comment that's been haunting me. Someone wrote on the "things you wish there were more of in class" section. "There was no freedom." I have no idea what that means in this context.  I, of course, have been spending many waking hours trying to puzzle it out. The best I can figure is that I very much teach in lecture-style. It's possible that this student was hoping to get up and move more.  Or perhaps my structure was too repetitive?  I did have people write via prompts, but I always said that you could use any writing time as free writing, so....?

This will now be the mystery that occupies my life.
lydamorehouse: (Renji talking smack)
 I'll be doing light cosplay today at my Loft Class.

We made some off-hand comment about cosplay. When the students found out that I've cosplayed in the past, they were like "Do it! Bring it!" and we all know that if you agree to such a challenge, you really need to follow through to the best of your ability.

Particularly when dealing with teens.  

But, now I have arrived at class and realized that I have forgotten a critical part of my shinigmai uniform at home! The kosode!  I have a captain's haori, but gah! I'm wearing it anyway.

The other challenge of today is that it's a wrap-up day. As in, "let's talk about anything we didn't previously cover."  So, it's going to be the least prepared, by its nature.  But, I will be teaching it dressed as Aizen, so I will have all the narcissistic confidence of a GOD.
lydamorehouse: (ichigo freaked)
...which means I'm sitting at the coffee shop this morning, wondering exactly HOW I should structure the next three hours of my life, a.k.a, my Loft class.

Today's entry on the syllabus reads:

Day Four: Calling a Rabbit a Smeerp and Other Problems of World-Building

World-building is more than just giving things we already know weird-sounding names, because how annoying is it to be reading about something called a smeerp that looks and behaves exactly like a rabbit, even though it’s supposed to be the native life of the planet C-43? If the class is interested, we may pull out a few (and only a few, because, man, is that list extensive!) of Pat Wrede’s world-building questions to see what answers we would come up with—both as a reflection of the work we’re already doing or as story/world idea prompts. Beyond working with her thoughts, we’ll also discuss our own tricks and tips for building believable fantasy and alien worlds.
 

Sounds pretty good, but these students chew through material like hungry wolves.  

On the other hand, spending some time just talking about worlds that they love and why they love them--with this class--is often a gold mine.  I have to say that I've been extremely lucky. I have some of the most out-going students that I've had in a long time.  And, a really decent percentage of people who want to share. Even some of the people who won't read their writing out loud (which is... let's admit it, even *I* hate doing that from time to time) still contribute ideas to class.  

Yesterday went really very well, too. So fingers crossed that I can keep up this winning streak for another couple of days.

The last class is Friday and then I drive home, pick up my family, pack up the car, and we head to Siren, Wisconsin to hang out at a friend's cabin. Sounds like just in time, too. It's supposed to start getting warm again.

I have to say that I've been LOVING this cooler weather.  Good sleeping weather, and I think that's actually one of my concerns today. I actually got enough sleep last night and now I feel kind of... well, like I'd rather STILL be sleeping. And, my ability to roll with the class and lead them and teach, entirely depends on the energy I have to give. I got myself some food, though, and a coffee, so I should be okay.

Wish me luck again! It worked last time.
lydamorehouse: (Default)
I'm at the coffee shop early trying to prep for class, but I keep getting distracted by my review blog. (A couple of comments came in while I was sitting here).

I decided to go to a movie last night with friends (Ant-Man and the Wasp) and that was fun, but now I'm feeling a little crispy around the edges because I stayed up later than I normally would. I also feel wildly unprepared for class.

I probably haven't managed to mention this earlier (see above blog about how insanely busy July has been), but I've been teaching a week-long science fiction/fantasy class at the Loft called "Not Just the Zombie Apocalypse." It's part of their teen summer program. My attendance is once-again extremely healthy. I have 16 teenagers, all of whom are willing to show up for an 9 am class, and, on top of that, all of whom have been (crossing fingers that this trend continues) enthusiastic participants.  

BUT, because of said enthusiasm, I've been tearing through material in class.

I'm ahead of my synopsis by about a day--so I'm thinking today is going to have to cover stuff I hadn't planned on doing, so that we can match back up/get back on track. I think to that end, I'm going to loop back to character design/development. We touched on it only briefly earlier, so it's time to go back to that.

This means, of course, that I don't have writing prompts ready to roll and I'm doing that last-minute scramble to find fun ideas.

Sometimes I wonder how i survive.

In this case, I survive because it really takes almost nothing to get my class talking. In fact, I intend to start to day getting them to list some favorite/memorable characters. Then, we're going to do some deep thinking about why these characters stood out: was it just their story? Was it some unusual personality trait? Was it they way they "talked" (aka the narrative voice)? Was it a special ability we all wish we had (world's greatest detective/wizard/etc.)?

I think we'll do some thinking about how do you make characters distinct from one another. We'll talk about how important (or not) physical description is, naming, dialogue quirks, etc. I think maybe I'll ask them to do an exercise where they write dialogue between two characters without ANY dialogue tags or "blocking" with the express purpose of focusing on making voices distinct enough to be recognizable without the 'he said/she said tags." (And then we'll have to discuss why huge blocks of dialogue like that are actually a TERRIBLE idea in actual fiction. :-)

Okay, I'm feeling better.  I'm going to head out so I can get there early and settle in. 

Maybe I'll also grab a second cup of coffee for the road.
lydamorehouse: (aizen's return)
 Saturday's class went astonishingly well. I was expecting eight students, but ended up with an even dozen.  They were all lively and ready to play.  It could not have been a better crew.  

I mean, maybe I will get a evaluation or two that says: "Teacher was very random" and/or "too accommodating," but that's just my teaching style. But, from what I could tell, everyone seemed to enjoy it.  Did they learn anything?  I hope so. I did have a couple of bits of wisdom to impart, but... you actually never know what sticks with a student.  I've had people say to me at conventions, "Do you remember saying [this one thing]? It stuck with me for years. Can you expand in it?"  And, 9 times out of 10, I have zero recollection of having said the thing. Unless it sounds completely unlike me, I tend not to let on and just go ahead and expound on whatever idea it was.  Because that's the thing. You really don't know what, out of the zillion things you say, what's gong to seem the most meaningful.

Mason came home from his last debate kind of late, somewhere closer to 5 pm. That worked out really well. I ended up having to wait with a student who had forgotten her phone until her dad arrived to pick her up.  From there, I stopped at Subway and picked up dinner for Mason and I.  We ate separately because Shawn was off to a work party on Saturday night.  

I could have gone to the party, but, once this extrovert wound down from the high of teaching, I was pretty pooped out.  Plus, Shawn is starting to be invited to the kinds of parties where the directors and board members are in attendance and... those upper echelon people baffle me. I can't compare Louis Vuitton bags. In fact, I don't even own a pair of dress pants any more. If I had been planning on going, Shawn and I would have had to go to the store to buy something appropriate for me to wear.  And that seemed stupid (not to mention expensive) for just one party. Admittedly, another big part of not wanting to go is the feeling that I'm cool enough any more. I'm not writing and I haven't published since 2013.  If people asked me what I did for a living, I'm not sure what I'd even say. 

So, there's that.

Yesterday, we got our Solstice tree up and decorated. I'd love to post a picture of it, but Facebook is being very weird.  So, maybe tomorrow.  We did our annual dash across University Avenue lugging a giant tree. It's become quite the tradition.  It starts with a walk over to the "Y's Men's" lot.  They used to set up directly across University from us in front of the YMCA.  However, now that Dickerman Park/the City of  Saint Paul has reclaimed that area, they've moved to a parking lot just up Wheeler on that side of University.  After finding the tree, paying for it, getting the bottom trimmed, we inevitably have this conversation:  

Them: "Where are you parked?"  
Us: "Oh, we're walking."
Them: "With the tree?"  
Us: "Yep! We live just across University."
Them: [looking vaguely confused and alarmed] "Good luck."

I'm sure we're quite the sight to the motorists on University Avenue.  I'm only glad we were able to talk the light rail people into giving us a pedestrian crossing. Otherwise, we'd have to walk down to Fairview, cross there, and then walk all the way back. That'd add several blocks.  In some ways, having the pedestrian crossing has made it a little easier. There were years when Shawn and i would be standing on the little concrete island between lanes for minutes waiting for a break in the cars.  Now, because the light rail has signs saying to keep an eye out for pedestrians, we will occasionally actually get people who will stop.

Then there's the semi-traditional arguing while we try to make sure the tree is properly in its stand.  We actually didn't do as much of that, probably because Mason is now old enough to stand at the door and direct us.  Before it would be: adjust, adjust, crawl out from under the tree, see that it's crooked, swear a lot, and rinse and repeat.  

I work today for three hours, starting at 11 am.  I get to try to brave this new dusting of snow all the way out to North Saint Paul. I'm sure it will be fine.  I can return eight of the volumes of Nana that I read over these last few days.  North Saint Paul is usually fairly quiet, too. I'm probably just covering some folks' lunch hours. 

Mason has a robotics field trip today, so I'm picking him up a little later than usual. Last night he went to Rosemary's. They switched to Sundays because of debate, but this meant he was home late last night and ended up staying up at least an hour over bedtime. He has a real problem with bedtime.  We harass him a lot, but there also comes a time when you have to say, "Okay. It's on you." No surprise, he woke up really rough this morning.  Anyway, I hope we can get him to bed earlier tonight.  Sigh. Teens.

Right. Well, I tried one more time to post to FB, but it's not working at all. And, now it's time for me to get ready for work.  

See you all again soon!
lydamorehouse: (ichigo hot)
I teach today at the Loft from 1 to 4 pm. It's a one-day workshop for teens writing science fiction fantasy called "The Dawn of the Attack of the 80-Foot Writer" (which is possibly my best class title, ever.) However, despite my dazzling title, I have only 8 confirmed students, and I think that's why I'm not feeling super-anxious. Eight is normally a very manageable number for me. Of course, it could all go horribly wrong if every one of those 8 students is a complete introvert...and no one talks or offers suggestions at all. Though, I have been known to fill my own silences, so I guess I'll just have to wait and see. I'm very much of the attitude, "It will be what it will be." Which might be awesome... or dangerous.

Mason is off again today at a debate tournament. It's the final one of the year, but he informed us yesterday that he'd like to be a debate judge. I guess that's going to involve a lot of us dropping him off at various school campuses around town, but I'm up for it. I'm really pleased that he's found something like this that he enjoys so much.

Though it's weird for Shawn and I to find ourselves with so much alone time. We continued our earlier binge watch of the last season of "Longmire" I spent much of last night dreaming about Wyoming. I think after this we're either going to finish up the weird set in the arctic show "Fortitude" (spoiler: cannibalistic zombie police procedural) and/or watch the third season of "Broadchurch." Meanwhile, while doing dishes I've been working my way through the anime of Mushi-shi, which I've been really enjoying.

In about a half-hour I'm going to do a Google hang-out with [personal profile] jiawen  , which should be fun. I've been writing a lot of letters to her in Taiwan, but we haven't chatted for a number of months.  

Well, I suppose I should see if there is, in fact, anything I need to do to prepare for class.  Hope you have a nice Saturday!

lydamorehouse: (??!!)
 Every time I teach teenagers, I take a moment to gather "market" information. I ask them what they're reading/watching/playing and what they wish they'd see more of.  For YA authors out there, here's what my Loft teens would like most of all:
  1. Assexual representation.  They want a character who is explicitly ace who DOES NOT FALL FOR SOMEONE BY THE END.  Please more GLBTQIA+ representation in general. Non-binary/Genderfluid/Genderqueer, too, please. (Ace comes up every year, by the way.) 
  2. Supernatural creatures who are *not* run of the mill vampires
  3. NO MORE ROMANCE.  Or, if there must be romance, can it please be something more than the tradition love triangle.  Better yet, let the triangle end in a poly arrangement (yes, my teenagers asked specifically for poly).  
  4. More dystopia, but no more Divergent rip-offs. How about a post-apocalypse that has nothing to do with the government dividing people by their skills/factions/what-have-yous?

Obviously, this sample size is small.  My class this year had twenty students, only four of them male-identified, one non-binary, and the rest using she/her pronouns. The majority of the class was female.  There were only two obvious PoCs. All of the students, except one that was there on a scholarship, came from families that could easily afford a $300+ class for their kids. Most were urban/suburban/Metro area, though some came from the 218 area code (I can't remember how many without checking my class list, but it was at least two. I remember because it surprised me.)  

The only other thing of note is that this is the first class where we've had to have a few discussions about the technical aspects of writing. Every year I teach, I try to have an opportunity for students to have their work critiqued. It's best when the whole class can participate and I can teach "how-to" peer critique, BUT with twenty kids it was strictly voluntary and I took their work home and typed up my response to their opening pages.  I bet half the class participated.  

Their abilities ranged wildly, but I was expecting that in a group of 13-17 year olds.  What I wasn't expecting was at least three students who seemed to have zero concept of paragraph breaks.  Their writing was otherwise good, it was just presented as a giant block of text.  I'm not sure where this comes from, and I had to take some time to remember how *I* was taught when a good paragraph break should come.  Of course, much of it comes from osmosis, from reading.  But I do remember someone requiring that we learn about what should be contained in a paragraph... I wonder which grade though?

Anyway, that was the only 'surprise.'  It's tempting to blame the lack of paragraph breaks on the internet.  But, I'm still not convinced that the Internet is ruining young writers. I suspect this lack of breaks comes from generally not being much of a reader.  (Voracious readers always have an obvious 'ear' for how stories are structured.) Or from reading things, like graphic novels or web comics, that come in a differently consumed format.

It was a weird year at the Loft this year, but, ultimately, the class was great.  My boss asked me to be sure to propose something similar for winter quarter.

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