Alumni and friends of Clarion come together every summer now online to participate in a 6 week writing spree—to see what we can get written, while the new Clarionites are in San Diego (La Jolla) with professional writers teaching them how to be the writers they want to be.
Our job–as alumni and friends–is just to write alongside them at home and help raise money for Clarion’s scholarships for next year.
I’m working on two projects that need to be finished. You can help writers by donating per word to their word goals. Someone has funded me at .000010 a word already! Which will net Clarion a grand total of $40 from that person—but it helps us push ourselves to raise as much money for Clarion as we can.
I’ve written about my Clarion experience, (and Nostalgia, thy name is Clarion,) which changed my life in 2007. It started me on the road to being the science fiction/fantasy writer I wanted to be. It was also the same year I drove up to the Yukon to move there! So lots of changes at once.
Clarion has helped a lot of writers. You might recognize the names of graduates: Kim Stanley Robinson, Jeff Vandermeer, Cory Doctorow, Octavia Butler, Carmen Maria Machado, Vonda McIntyre, Kelly Link, Nalo Hopkinson, Robert Crais, Bruce Sterling… the list is long. These 2019 writers—you’re going to read their stuff soon too.
Come drop by Clarion Write-A-Thon and choose some writers to pledge along their way, help push them to meet their goals! Clarion gets all the money–actually, the students get the money through scholarships. But we get the encouragement of someone rooting us along!
I’d love to have you come by and sponsor me per word for .00001 or more or less. Come by and see what people are writing!
The Link to My Writer’s Page lets you know what I’ll be doing for six weeks, and encourages you to donate a bit of money–maybe per day, per word, or just a small sum ($20, $50, $100) in total. All proceeds go to Clarion for scholarships, helping more people like me get to attend. Most of us who attend a six week workshop make sacrifices to be there, and certainly the costs can be high to spend six weeks anywhere in the world (even my apartment is $1050 just in rent for six weeks), but the benefit each student receives from that time is ginormous.
Each Student gets:
individual instruction from 6 major writers in the field
connections to agents, publishers, editors
advice on how to create a writerly business
a cohort, band of writers that encourages during the long haul
a lifetime of mentoring
six weeks of time free to write, concentrate on their art
It’s very difficult to shave off time for writing, and this six weeks is a huge jumpstart. I have sold 4 out of the 5 stories I wrote for Clarion, and frequently I take out that notebook that I kept during Clarion to record what the teachers/writers said, and I go through it again. You can’t GET this kind of instruction anywhere else but with publishing writers, established in their fields.
If you have trouble imagining what this would be like (maybe you don’t write science fiction), imagine a workshop of six weeks where each week you got to spend with these people: Margaret Atwood, Michael Chabon, John Updike, John Irving, Kazuo Ishiguro and Alice Munro. And then editors from Harper Collins, Random House, etc came by to chat with you and take your pitches, and agents came by, and you went to a giant convention where all the big writers hung out. You got to eat and drink with people who were doing your career— like job-shadowing, except they became your friends–for SIX WEEKS. It’s just like that but with the big names of Science Fiction and Fantasy!
In the Golden Age of Science Fiction, a writer learned by joining up with a pulp magazine and writing stories every week to push into those magazines–they trained with writers around them, doing the same thing, encouraging each other.
Nowadays, we’re all trying to get stories into those “pulp” magazines, Asimov’s, Fantasy and Science Fiction, Realms of Fantasy–but we’re not in a room full of other writers writing together–we’re strung out across the world. The only places we get that kind of training are these workshops–they stand in for the kind of on-the-job writing/training you would get at a magazine. The intensity is the same. I think the quality is higher. But without Clarions, writers wouldn’t have that avenue for training, and many who might not figure out how to write for the magazines, or their novels by osmosis, wouldn’t get published.
For the six weeks, I will be working on chapters of my first novel, chapters a publisher is expecting and has asked for.