My First Worldcon

So I attended Worldcon 76, in San Jose, CA. It was my first Worldcon; the last one in my neck of the woods was Reno in 2011, and I was not in a good enough financial space to go to that one.

All in all, I enjoyed the experience, but as a baby writer whose book is not even out yet, it was … interesting.

I quickly learned that most of the writing craft-focused panels were not for me.  They were saying things I already knew. The sort of “theory”-based panels were much better, though I didn’t make it into a few of them due to overcrowded rooms.  C’est la vie.

I learned late on Saturday that the head of my publisher was in attendance, and I tried to arrange a meet, just to shake his hand and say hi, but we weren’t able to sync our schedules and get a minute.  Ah well, there will be other chances.

I attended a panel titled “The Revival of Space Opera,” which included among the panelists my Viable Paradise instructor, Teresa Nielsen Hayden.  I wanted to go talk to her at the end, but I didn’t feel like fighting my way through the press, and assumed I’d be able to find her somewhere else.  Sadly, I didn’t, so I didn’t get to talk to her, which I regret.  Teresa’s one of my favorite VP people.

I did learn that going to a con with my pre-teen daughter is difficult.  Tegan is 10, which presents a problem: the child-focused stuff was too young for her, and she’s not old enough to go hang out with teens yet.  So she spent much of her time being bored, though she did attend her first panel on her own at one point, and enjoyed that.  She felt better once her mom arrived on Friday evening, though daughter spent Friday night visiting her Bay Area-based cousins.  Tegan really wants to be my “assistant” if and when I ever do signings and the like, but I think we’ve both decided she’s not ready for that yet.  We’ll see what happens as she gets older.

What I really enjoyed the most about the Con was visiting my tribe members who came to Worldcon.  Through Beth Morris Tanner, who seemingly knows basically everyone in the SFF field, I also met Karen Osborne and Mary Anne Mohanraj, both of whom were delightful and I hope to see more of in the future.  I didn’t get to talk to all the people I wanted to, but that’s the reality of Big Social Events.  Dinner with my VP crew on Saturday was a high point, for sure.  Let me tell you, if you’re ever in need of some great SFF anecdotes, K.G. Anderson is the person to sit with.

I’m delighted that most of my Hugo votes were for the winners, and I gladly give my congratulations to all the winners, even the ones I didn’t vote for.

Now it’s time to get ready for the school year to begin, and keep plugging away on the writing projects I have going right now.

The Importance of Silence and Downtime

I’m not silly enough to assume this is true of all writers, but it’s certainly true of me: I need silence.

Not true silence, the absence of noise, though that is also beneficial.  What I really need is a sort of mental silence–time in which I don’t have to be thinking too hard about other things, like work, or whether my child is screaming for good or bad reasons, or if I remembered to feed her.

The reason I need that time is so my brain can work through story issues.  I can sit, in a hammock, let’s say, staring at the trees above me, blinking but doing nothing else–and in my brain, ideas are being sifted through, sometimes consciously, but sometimes in the “background” of my mind while I’m just processing sensory input consciously.  It’s a weird and hard to describe process.  So here’s an example:

Saturday night, my daughter and I stayed in a motel in Placerville, about a half-hour drive from my home, because we were going out to watch the Perseid meteor shower and I didn’t want to have to drive all the way home from our star-watching spot at the Ice House Observation Plateau to Sacramento at oh-dark-thirty in the morning.  When we woke up Sunday, we got dressed, packed up, and went home, where an hour later, I realized I’d left my pillow–a non-standard, kinda expensive pillow that is literally the best pillow I’ve ever had–in the motel room.

Figuring the gas to get there and back again was less than the cost of buying a new pillow, I went back for it.  I went alone, which was useful.  As I drove, I started asking myself some tough questions I’ve been having a hard time with about The Remembrance War around some of the events in book 2 and some stuff I’m building toward in book 3.

Namely, I had two major questions:  First, instead of getting into a protracted street fight in book 2, why don’t the Zhen simply blast the rebels into the dirt from orbit?   Second, why don’t they shoot Tajen dead when he begins [REDACTED]*?  And, bonus question, why ARE [REDACTED] getting involved with the whole mess in book 3?

As I drove, with nothing to do but let the music on my crappy car radio be white noise while I thought (and steered), I found all three answers.  So I committed them to memory, and then spent some time refining the concepts and pre-composing a few scenes that will help make it all clear–scenes that will fit into the already-planned story arc and scene structure.

That kind of downtime, you see, is precious.  And I don’t get a lot of it in my daily life.  Between work, ten year old child, and spouse, there’s a lot of talking, and a lot of doing, in my day.  And I need the quiet to be able to figure out what’s going on with the story.

Fortunately, once I know what’s supposed to happen in a given scene, writing does not require silence.  I wrote one of the best scenes in The Widening Gyre while sitting in a room with 300 chattering parents and their kids at my daughter’s school, waiting for an event to begin.  I wrote several other scenes in the middle of restaurants or coffee shops full of noise.

So while it isn’t necessary to actually write down words, it is super necessary to figure out what the general shape of those words should be.

And now, it’s time to get back to the writing.  Tajen’s about to make an idiot of himself before the Kelvaki High Council at the worst possible moment.