Welcome to another round-up post! This is where I hold myself accountable and cast an eye over what I did this year.
As per usual, I feel like it wasn’t enough. But then, it always feels that way. At this point, I’m sure it will never feel like “enough.” “Enough” is an asymptote—we may get close, but we never really reach it. I think we need to hold onto conflicting truths (It’s never enough/We can do it!) simultaneously, or we spiral into despair.
But enough philosophizing. What did I do this year?
What I Did in 2018
Six Stories, Told at Night won the Parsec Award
Finished writing/editing the Beer Magic novel
Took the first steps in finding it a home
Wrote 9.5 new short stories
Submitted short stories, though not as many as I’d like
“On Thin Ice” came out on Tales from the Archives
“Ti-Jean’s Last Adventure, as Told to Raccoon” sold to Lightspeed (it’s out in February)
“Song of the Oliphant” sold to/came out with Lackington’s (read it here)
Reprint rights to “La Corriveau” sold to Augur (it’ll be on their blog in the new year)
“Her Hands Like Ice” will be included in Bracken’s print anthology (details when I have them)
Finished writing DinoKnights for Choice of Games
Released DinoKnights with Choice of Games (play it here!)
Attended ReaderCon and Can-Con
A Canticle of Light was produced by Missed Metaphor Productions
Adapted/produced a stage version of Six Stories, Told at Night for the Toronto Fringe Festival
Six Stories, Told at Night got shortlisted for Best of Fringe
Produced Six Stories (again!) for an independent showcase
Started plotting out Coxwood History Fun Park—Season Two
Officially tendered my resignation after eight (!) years at the museum (I’ll have many thoughts about that later)
Landed a new dayjob
But that doesn’t capture the most important work I did this year.
I went back to therapy to actually get a handle on my social anxiety. I spent a lot of time discovering what actually makes me happy, rather than the things I “should” be pursuing. I took a good hard look at how I relate to people.
And I’m…getting somewhere. Slowly, but surely. I feel like this is work that has to happen now, so I have a foundation for the future.
Anyway. That was my 2018!
What I’m Listening To This Week
Honestly, I keep bouncing back and forth between Handel’s Messiah and Benjamin Britten’s A Ceremony of Carols. We’ve had “This Little Babe” on the blog before, but it’s my favourite part of Ceremony. I love how the relentless, martial phrases mimics the imagery in the text…plus, it’s ridiculously fun to sing!
Another year, another slew of amazing books! A ton of incredible fiction came out this year—and I read some older chestnuts as well. It was difficult to narrow the field to five particular favourites, but I have done it! (And of course, this doesn’t discount any of the other books I read).
In roughly the order I read them, here is…
What I Read and Loved in 2018
(For the sake of transparency, * denotes an author with whom I’m also friends!)
Leaving behind her fashionable West Coast life, Maggie Black comes to the Southwestern desert to pursue her passion and her dream. Her mentor, the acclaimed poet Davis Cooper, has mysteriously died in the canyons east of Tucson, bequeathing her his estate and the mystery of his life–and death.
Maggie is astonished by the power of this harsh but beautiful land and captivated by the uncommon people who call it home–especially Fox, a man unlike any she has ever known, who understands the desert’s special power.
So…I adore Terri Windling: her fiction, her art, and her blog. I knew I’d love this novel, too.
And I did. It is everything I love: myth lurking in the shadows, art, and stunning landscapes. This contemporary-yet-ageless-myth style of fantasy reminds me a lot of Charles de Lint (no surprise, they’ve worked together) and I am entirely here for it.
Firefly meets The Fast and the Furious in this science fiction adventure series that follows a crew of outcasts as they try to find a legendary ship that just might be the key to saving the universe.
A washed-up treasure hunter, a hotshot racer, and a deadly secret society.
They’re all on a race against time to hunt down the greatest warship ever built. Some think the ship is lost forever, some think it’s been destroyed, and some think it’s only a legend, but one thing’s for certain: whoever finds it will hold the fate of the universe in their hands. And treasure that valuable can never stay hidden for long….
Queer lady space pirates treasure-hunting and racing. There is a lot going on in this book, and it’s all great. I particularly love Alex’s work with characterization and it’s wonderful to watch them coming into their own. This is a strong book with a strong voice, and it’s getting well-deserved accolades!
PLUS, the sequel drops tomorrow!! Check out A BAD DEAL FOR THE WHOLE GALAXY!
While most of the world has drowned beneath the sudden rising waters of a climate apocalypse, Dinétah (formerly the Navajo reservation) has been reborn. The gods and heroes of legend walk the land, but so do monsters.
Maggie Hoskie is a Dinétah monster hunter, a supernaturally gifted killer. When a small town needs help finding a missing girl, Maggie is their last best hope. But what Maggie uncovers about the monster is much more terrifying than anything she could imagine.
Maggie reluctantly enlists the aid of Kai Arviso, an unconventional medicine man, and together they travel the rez, unraveling clues from ancient legends, trading favors with tricksters, and battling dark witchcraft in a patchwork world of deteriorating technology.
As Maggie discovers the truth behind the killings, she will have to confront her past if she wants to survive.
Welcome to the Sixth World.
Wow. Just…wow. I absolutely loved Roanhorse’s story “Welcome to Your Authentic Indian Experience (TM)” in Apex last year, so I was stoked to read her debut novel. And goodness, it was worth the long library queue. Gripping plot, steely characters with achingly nuanced relationships, and rich worldbuilding—this is a gritty, bloody world. So good.
THE ULTIMATE HEIST
Belisarius is a Homo quantus, engineered with impossible insight. But his gift is also a curse—an uncontrollable, even suicidal drive to know, to understand. Genetically flawed, he leaves his people to find a different life, and ends up becoming the galaxy’s greatest con man and thief.
But the jobs are getting too easy and his extraordinary brain is chafing at the neglect. When a client offers him untold wealth to move a squadron of secret warships across an enemy wormhole, Belisarius jumps at it. Now he must embrace his true nature to pull off the job, alongside a crew of extraordinary men and women.
If he succeeds, he could trigger an interstellar war… or the next step in human evolution.
Some stories have their authors’ personality and passion embedded into their DNA to such an extent, it’s like seeing them in book form. That’s how I felt about THE QUANTUM MAGICIAN. It’s just so…Derek.
Which is a good thing: Derek is a shining light in SFF in general and Canadian SFF in particular. This book doesn’t shy away from hard science and tough questions—but it’s also hilarious. Like, genuinely, incredibly hilarious…even as some of this world’s darker implications made me run cold.
An ancient society of witches and a hipster technological startup go to war in order to prevent the world from tearing itself apart. To further complicate things, each of the groups’ most promising followers (Patricia, a brilliant witch and Laurence, an engineering “wunderkind”) may just be in love with each other.
As the battle between magic and science wages in San Francisco against the backdrop of international chaos, Laurence and Patricia are forced to choose sides. But their choices will determine the fate of the planet and all mankind.
In a fashion unique to Charlie Jane Anders, All the Birds in the Sky offers a humorous and, at times, heart-breaking exploration of growing up extraordinary in world filled with cruelty, scientific ingenuity, and magic.
Okay, so I’m a little late to the party with this one. But I’m so glad that I’m here now. This is a delightfully charming book with a confident, playful voice. I love the interplay between magic and science, talking birds and talking AIs. This feels very much like Diane Duane’s “Young Wizards” series grew up, donned hipster glasses, and catapulted into the Millennial experience.
The Only Harmless Great Thing is a heart-wrenching alternative history by Brooke Bolander that imagines an intersection between the Radium Girls and noble, sentient elephants.
In the early years of the 20th century, a group of female factory workers in Newark, New Jersey slowly died of radiation poisoning. Around the same time, an Indian elephant was deliberately put to death by electricity in Coney Island.
These are the facts.
Now these two tragedies are intertwined in a dark alternate history of rage, radioactivity, and injustice crying out to be righted. Prepare yourself for a wrenching journey that crosses eras, chronicling histories of cruelty both grand and petty in search of meaning and justice.
The bonus round is usually for short stories, but I’d be remiss if I didn’t mention this novelette (that’s right—novelette, NOT novella). The writing is beautiful, the voice unwavering and lyrical. In relatively few pages, Bolander sketches deep characters and a deeper mythos. Haunting, gorgeous, and quivering with anger, this story will be rattling around my head for a while.
What did you read and love in 2018? Drop off your recommendations below!
What I’m Listening to this Week
I love writing to Arvo Pärt’s music. The mystic, minimalist feel is perfect for drafting – and since I’ve been working on a few new short stories, he’s getting consistent play lately!
I’m writing this on the first Sunday of Advent. Among other things, Advent is a season of waiting and preparation—and a fresh page, as the start of a new liturgical year. For me, it’s also an introspective pause before the dayjob season ends and the regular New Year begins.
But I think most people turn introspective, this time of year. That’s what all the year-end wrap-up posts and summaries are about, right? They’re a chance to tie up loose ends and look back over our shoulders before turning the next corner.
What did you accomplish this year? What goals do you have for next year?
Where are you, right now? Are you happy, here? What will you change, as we move forward again?
So our thoughts run, as the days get cold and the nights grow long. In this weather, there’s more space to spend time with yourself.
Over the next few weeks, we’ll get to the lists of “What I Read in 2018” and “What I Did in 2018.” But for today—I’ve realized something, in my introspecting.
Years ago, I wrote a poem entitled, “What I Want.” You can read it here, but this is the pertinent stanza:
I want you to find me,
Some Tuesday afternoon
When we aren’t doing anything.
I want you to pause,
Just for a moment,
“I read your story –
It was really good.
I liked it.
I’m so proud of you.
And you know what?
I think I’ve found precisely that, but it wasn’t in the place I expected. It’s like the thing where you see someone out of context and don’t recognize them. So much our perception is built on preconception, the essentials get clouded.
Sometimes, I think, our goals are closer than we believe. It’s just that we want so badly for things to look a certain way—we don’t always realize when we’ve attained them. Maybe this is why the idea of “success” is so slippery. We clutch at specific images—book deals, signings, awards, fans. But sometimes, those are stand-ins: symbols for something deeper.
What do you want, really? Have you already found it?
Something to consider, as the year passes ever more quickly away!
What I’m Listening To This Week
More Ešenvalds! Yes, “Long Road” is the same ethereal, dreamy choral music we’ve been hearing a lot lately. But it’s all too pertinent right now. I might be crying.
I’ve been rereading Ursula K. Le Guin’s excellent essay collection, The Language of the Night, most particularly “From Elfland to Poughkeepsie,” which examines the importance of language and style in writing fantasy. Le Guin’s main thesis is that fantasy isn’t defined so much by wizards and dragons. What makes it fantasy is the style: “The style, of course, is the book…If you remove the style, all you have left is a synopsis of the plot.” (Le Guin, The Language of the Night, p. 94).
She hastens to add, “I speak from the reader’s point of view. From the writer’s point of view, the style is the writer…Style is how you as a writer see and speak” (ibid).
Which is certainly true. Style can be learned, imitated, affected—but we all have a style that is uniquely us, as personal as our fingerprints or speaking voice.
But I was thinking—I have a story coming out in Lackington’s at the end of this month that’s a very different style than my other fiction. It’s contemporary and snappish (the editor called it “almost hardboiled,” which delighted me to no end). And yet—it’s still me.
As usual, I turn to music to help me understand my own writing process.
First, some technical things: vocal registers.
Vocal pedagogy is its own delight, but for our purposes, let’s talk about chest voice, head voice, and the break. Super simply (I apologize), chest voice is the low part of the vocal range, head voice is the upper part, and the break is that frustrating bit in the middle.
There’s a difference singing across registers. Physically, of course, but also in terms of intention.
And yet, it’s still the same voice—used differently, resonating in different places, useful for different types of music (I would die trying to sing descants in my chest voice).
For me, this is a useful way to think about writing. Some stories sit in my chest voice. Some sit in my head voice. Same voice, same style, just applied differently.
(As a sidebar that really deserves its own blog post, I think that the same logic applies to fairy tales. Tolkien famously described a “fairy-story” as “…one which touches on or uses Faërie, whatever its own main purpose may be…” (Tolkien, Tree and Leaf, p. 16). Much like how fantasy isn’t defined by wizards and dragons, fairy tales aren’t defined by wee sprites. I think defining “fairy tale” comes down to register, rather than plot motifs or tropes—a “Faerie voice,” if you will. But I digress.)
But wait, there’s more!
Even within the same register, vowels change the sound dramatically! Consciously adapting vowels is an important skill for choristers; just like adapting vocabulary, syntax, and vernacular is important for writers.
Good singers can sing across all genres of music. Sure, it may sound different, but it’s always them, always their style. Good writers do the same—and that’s what I’m aiming for.
What I’m Listening To This Week
Christmas has started at the dayjob, so bring on the Christmas/Advent music! It’s going to be a fun six weeks. Here’s a macaronic piece already getting considerable play on my rotation:
I’d like to tell a story.
About a year ago, I was heading to a Christmas party when I learned that Six Stories, Told at Night had gotten into the Toronto Fringe. That’s a story I’ve told before.
This is a Christmas party with lots of (choral) music-types. Fantastically nerdy conversations abounded. After a few pints, a friend and I were talking in the hallway about Toronto’s two big Christmas shows—Handel’s Messiah and the National Ballet’s The Nutcracker—and how many people tend to be a “Messiah” person or a “Nutcracker” person, and—
“Hold on,” quoth I, “what if you combined them?”
“The music of Messiah,” I continued, flush with possibility and good ale, “and the story of The Nutcracker!”
My friend giggled.
“But who may abide the nut of his cracking?” I sang. Then, to the tune of the Hallelujah chorus, “O Nutcracker! O Nutcracker!”
We giggled some more and eventually I went home, and that should’ve been the end of it.
Except that in the morning, it was still funny. New words to “There were shepherds” dripped from my fingers easily enough. And for a few months, I poked at the idea again and occasionally threatened to put this show on.
“It wouldn’t be too hard,” quoth I (so innocent, then!). “You just need a piano and people who know Messiah.”
On and off, on and off, I wavered back and forth. And then Blythe had the brilliant idea of using it as a fundraiser for Gangway! Theatre Co., and we were off to the races. For the first time, I seriously considered what I needed:
Quartet of soloists
Thanks to awesome, dedicated friends…uh, we got all those things. Yes, certain parts were harder than I anticipated. Like my poetry, my parody seems to prefer spontaneity—sitting down to a keyboard and messing with Messiah for realsies was less footloose and fancy-free than I expected. Also, as I learned with Six Stories, there are always tiny maddening logistical things that crop up like black flies.
Will it be funny? I mean, I think it’s funny. The choir thinks it’s funny. People outside a cross-section of classical music nerds?
This was an anxiety-making moment over the last week.
But we’re doing it. The hilarious drunk idea has become a real show, hitting the Comedy Bar mainstage (945 Bloor St. West), November 13th at 9:30 pm. And I’m proud: I’m proud of the musicians, proud of my friends, and proud we got this sucker to the stage. We actually went for it.
Comfort ye, my people. For unto us, Nutcracker comes!
What I’m Listening to this Week
But of course…
For many reasons, I’m heart-sore this week. There isn’t a long post in me, but I didn’t want to let this slide another week. And so, here are three autumn poems. You may recognize them from previous postings – that’s okay.
See you next week.
I Saw My Ghost
I saw my ghost yesterday,
Drinking tea in dappled light.
I checked all my bones,
Running soft fingers along
Testing the joints
And painted-over cracks.
I am pleased to report
They all held up
A tiny splinter
On my least significant metatarsal.
It gave a short yelp
We did not speak,
My ghost and I,
Though she lifted cold china
To a mouth that cut.
I silenced those bones
Better left to old closets:
Those bones best forgotten
October Fell Upon My Back
October fell upon my back,
The brindled wood, the barren lack,
Smoke-yellowed light a slantwise cross
Through bleak-bald trees gone gaunt with loss.
Before the wind, the dead leaves whirled,
Grey starving mist between them swirled.
The forest asked me, low and pained,
“And is it good, what you have gained?”
I stood alone on earth hard-packed,
Stood weighing grief
And weighing lack.
Dry berries withered on the thorn,
The season’s hinge creaked plaintive, worn,
While streams decayed to stiffened mud,
A sting of smoke and smear of blood.
October dark caressed my bones,
The trees leaned in, my lovely crones,
But standing in the forest bare,
I could not speak, and did not dare.
And the last fall wind
Crept under my coat.
The Elegance of the Turtle
This is not a poem
I have written for you,
The elegance of the turtle
As he drifts through
And for the slow guilelessness
In his farewell.
I am certain of the turtle,
It is better that I sing for him,
Where withered cattails shiver
And greying willows weep
Over the water.
What I’m Listening To This Week
Last night, I stumbled back into my flat and I slept hard. Head hit the pillow, lights went out. For ten glorious hours, I was submerged in deep, (mostly) dreamless sleep.
See, it was Can*Con this weekend.
I’ve talked about Can*Con before. It’s a SFF convention in Ottawa, and my favourite con by far. This year was no exception. It felt like the platonic ideal of cons.
Good professional things happened. My workshop went really well. I spent time with dear friends. I scored some sweet stuff in the dealers’ room. Fun food expeditions were had.
I could ramble on about how great the weekend was, and leave it at that. But I want to take a moment to dissect why Can*Con works.
Can*Con was inaugurated in the nineties. After going on hiatus for a time, it was resurrected by Derek Künsken (who just released his debut novel, THE QUANTUM MAGICIAN!). He currently co-chairs the con with my pal Marie Bilodeau. The Ottawa writers’ community is lovely and vibrant, and most of them are involved in the con on some level, whether on the programming or corporate teams.
So what makes this a good con?
When a con attempts everything, it ends up with nothing. Cosplay, media, literature, gaming, science, and history attract different audiences and need different skills. Spreading yourself thin to hit them all dilutes the con’s purpose. Some cons fragment into self-contained enclaves; others just end up feeling watered-down, and can’t progress beyond surface-level skimming of their topics.
Can*Con has two main focuses: literature and science.
There are some history panels, of course, and I taught a podcasting workshop. The focuses allow some room to breathe, but all programming aligns with that basic mandate.
Accessibility and inclusivity aren’t after-thoughts. They are incorporated into planning from the outset. There is also a designated Accessibility Coordinator.
Pronoun stickers for badges, a dealers’ room designed with mobility in mind, all-gender washroom availability, a quiet room, accessibility seating in programming rooms—these are all givens. Accessibility and inclusivity are non-negotiables.
Is it perfect? Of course not. But identified shortfalls are met with commitment to refining and improving—not denial and shirking of responsibility.
Get the Right People
Convention teams need a carefully curated mix of personalities and skills sets. After all—those personalities and skill sets become the con.
It’s a diverse group, but there is a common factor: commitment to the convention’s mission and values. Without that, you’ve got no coherency in your team, which translates to no coherency in the con either.
Just a little bit. Every con has a personality—which in turn influences the audience it attracts. Author and storyteller (and my friend) Nicole Lavigne describes Can*Con as “the little con that does.”
At this point, it’s the best game in eastern Canada. And it got there partly by saying it was. It’s a bit like performer A.E. Shapera pointed out…if you claim you’re famous, eventually people make you so.
Commitment to Harassment Policies
Again, there are always procedures to refine and improvements to make.
But the commitment to upholding the current code of conduct is total and absolute.
End of story.
It takes a lot to make a convention. It takes even more to make a convention work. As I reflect back on the weekend, I keep coming back to this:
A convention is its community.
I feel very fortunate to call this community—and this con—my friends.
What I’m Listening to this Week
Ēriks Ešenvalds’ wonderful piece, “Northern Lights.” It starts with a Latvian folksong, and then changes to the writings of American explorer Charles Francis Hall, set to music. The piece reminds me very much of The Flying Dutchman.
From one adventure to the next!
Six Stories, Told at Night had its showcase and reception last week. Overall, we were thrilled with how it all went (I regret a few moments of clumsiness). And to celebrate, The Seventh Story was released on Friday! This is a companion story written as one of our GoFundMe rewards. You can find it here!
So what’s next?
Yes, I return once again to this delightful con! Its numbers are swelling, the programming looks awesome as ever, and I’m so looking forward to seeing lots of cool people. It’ll be a busy weekend, too!
Friday, October 12
WORKSHOP: A Sound Idea – Fiction Writing for Podcasts
Ever wanted to dip a toe in the ocean of podcasting? Play with sounds and learn the difference between a read and performed narrative? Then step right up! I’ll be teaching a session on podcasting writing and production.
Can-Con has a few masterclasses running, so click here to learn more and register!
READING: 3:00 pm
It’s gonna be Anatoly Belilovsky and me kicking off the readings!
Saturday, October 13
A Seriously Folked-Up Panel on Fairy Tales — 12:00 pm
Me, Amal el-Mohtar, Kari Maaren, Rati Mehrotra, Derek Newman-Stille (m)
Sunday October 14
Beyond Romantic Entanglements— 2:00 pm
Me, James Alan Gardner, Jessica Reisman, Kelly Robson (m)
Of course, then fun doesn’t stop after Can-Con. There’s a slew of projects in the works. I’ve deviated some from my magic New Year’s Day list of goals, but I’m happy with the things in the hopper…including a new musical comedy crossover.
Things are good. Exhausting, but good.
What I’m Listening to this Week
I just came across César Franck’s “Le Chasseur Maudit” (The Damned/Accursed Hunter). It’s a wonderful musical take on the Wild Hunt motif. I love the hunter’s horn crying out in the beginning, and the grand, sweeping lines as he’s pursued by Hell. Perfect for this time of year!
It’s been a very long road for Six Stories.
I’ve been working with this story—in different forms—for three years. Written in 2015, podcasted in 2016, Fringe plans in 2017, Fringe and remount in 2018.
Like I said, a long road.
So the showcase is this Thursday. And what I really want to say is…
Thank you for supporting this story from this first, early scribblings, through to the podcast, through to the stage play. Thanks to everyone who travelled to Toronto this summer, who re-arranged their schedules, who were unquestionably there when I really, really needed you. It all makes my heart really full, you know? Thank you for believing in me when I couldn’t believe in myself.
Canadian Thanksgiving is this weekend, so gratitude is particularly in mind. Yes, it’s been stressful and I’m exhausted, but…
I’m doing theatre. I’m writing. I am so fortunate in the friends and communities I have.
Now, lest this blog post become an Oscar speech, we should probably wrap it here. I hope people enjoy our show. I hope Sam and Joëlle—these two brave, strong, loving heroines—find their place in others’ hearts as much as they have in mine.
Two quick bits of business, before we go:
The Seventh Story will drop in the usual Six Stories feed this Friday. I’m quite pleased with the way it turned out, particularly the narration. There are a few surprises in store—have fun!
Thanks all. Very truly.
What I’m Listening to this Week
This choral piece is pretty—it’s Dan Forrest, but it feels very Eric Whitacre. But it’s not really the arrangement that got me. It’s the text itself, a poem by Jake Adam York. I’ll leave it here:
Forgive me if I forget
with the birdsong and the day’s
last glow folding into the hands
of the trees, forgive me the few
syllables of the autumn crickets,
the year’s last firefly winking
like a penny in the shoulder’s weeds,
if I forget the hour, if I forget
the day as the evening star
pours out its whiskey over the gravel
and asphalt I’ve walked
for years alone, if I startle
when you put your hand in mine,
if I wonder how long your light
has taken to reach me here.
– Jake Adam York
The Six Stories, Told at Night showcase/party is distressingly close. Blythe and I have been racing about, organizing things and booking things…and going to other people’s events.
It has been a bad week for social anxiety, as I feel terribly out of my element. In many ways, indie theatre is a lot like the SFF world. It’s small. Most people know each other. Different theatres have their niches. There is a whole web of social connexions and unwritten social codes that I can’t see, because I’m not aware of them. Going to the Word on the Street book/magazine festival yesterday felt like heaving myself onto a life raft.
Writers! Editors! Readers! Book people! I know how to do this! I have friends here! I feel safe!
And then back to feeling generally useless.
So what does it feel like, when the anxiety starts kicking in?
Imagine, dear reader, a dimly-lit bar with lots of loud conversations and lots of people clustered in groups. But it’s not a background hum of noise. Oh, no. You’re getting ten different conversations piped directly into your ears—and your brain treats them all as equally important.
It’s a bit like having pop-ups that can’t be turned off. You’re just trying to surf the web, but you can’t get very far before something fills the screen demanding all the attention, right now. My brain’s trying to navigate a situation that it’s fairly sure might kill us, but half of it’s stuck processing incoming sound.
Sensory issues make me good at podcasting, and bad at crowds.
Anyway, they’re all having conversations. Great. So – who has two thumbs and gets intimidated by groups?
Except at cons, weirdly. But then, I know con etiquette better. Loose circle of people drift into the hallway after that panel you all saw? It’s probably okay to introduce yourself and have a brief chat. Two people in a deep conversation, by themselves, in a withdrawn corner of the bar? Keep walking.
Anyway, it’s that classic social anxiety thing of being the weird kid standing along the playground fence.
And we can throw in some general competency-based anxiety, just for fun.
My chest tightens. My thoughts race. My hands shake. Really, my brain is trying to be helpful. It’s CERTAIN that danger’s lurking RIGHT HERE, and by George, it’s going to let me know.
But—I’ve been trying to remind myself that SFF has only started feeling comfortable over the last few years. And it’s only been really comfortable for…I don’t know, maybe the last two? Whenever I started going to Can-Con, I suppose.
What made the difference?
Some of it was time, of course. It takes a lot of form rejections, awkward cover letters, and nervous pitches to learn the rhythms of publishing. It also takes time to nurture relationships.
And I started going to stuff. That made the biggest difference. Take ChiZine’s reading series. I made myself go month after month. Sometimes, I had to literally force myself up the stairs. I still went. Every month. Hard rule.
And now…man, I love ChiSeries.
But the point is that it was a conscious decision to force myself over the hump. Going to new cons is a conscious decision. I can do it. I’ve proved it to myself.
I just need to trust that theatre works the same way.
Reminder that you can purchase your tickets for Six Stories, Told Again right here. And join us at Theatre Passe Muraille for the after-party! The Seventh Story will drop there, that night, and in the podcast feed the next day!
What I’m Listening to this Week
More Emilie Autumn, a take on “The Lady of Shalott” this time. I’ve been thinking about that poem a lot this year…