Arley Sorg is co-editor-in-chief at Fantasy Magazine, senior editor at Locus Magazine, associate editor at both Lightspeed and Nightmare Magazines, and a columnist for The Magazine of Fantasy and Science Fiction. He takes on multiple roles, including slush reader, movie and book reviewer, and interviewer, at multiple venues, including ClarkesworldMagazine and his own site: arleysorg.com. Arley grew up in England, Hawaii, and Colorado and studied Asian Religions at Pitzer College. He lives in Oakland and, in non-pandemic times, usually writes in local coffee shops. He is a 2014 Odyssey Writing Workshop graduate.
You attended the Odyssey Writing Workshop in 2014. Can you talk about your pre-Odyssey writing process? What kind of writing schedule, if any, did you keep?
I was a “push yourself” kind of writer. I had a couple of regular writing groups, both for co-working sessions and for critique.
Odyssey graduate Scott H. Andrews will be a guest lecturer at this summer’s Odyssey Writing Workshop. Scott lives in Virginia with his wife, two cats, thirteen guitars, a dozen overflowing bookcases, and hundreds of beer bottles from all over the world. He writes, teaches college chemistry, and is Editor-in-Chief and Publisher of the seven-time Hugo Award finalist online fantasy magazine Beneath Ceaseless Skies.
Scott’s literary short fiction has won a $1,000 prize from the Briar Cliff Review, and his genre short fiction has appeared in Space & Time, Crossed Genres, and Ann VanderMeer’s Weird Tales.
He has lectured on short fiction, secondary-world fantasy, editing, magazine publishing, audio podcasting, beer, and heavy metal on dozens of convention panels at multiple Worldcons, World Fantasy Conventions, and regional conventions in the Northeast and Midwest, and he has taught fiction writing for Clarion West, The Cat Rambo Academy for Wayward Writers, Houston Writefest, and at Odyssey. He is a seven-time World Fantasy Award finalist and 2019 winner for his work at Beneath Ceaseless Skies, and he celebrates International Stout Day at least once a year.
You’re the editor-in-chief and publisher of Beneath Ceaseless Skies, a magazine for literary adventure fantasy. What do you look for in the stories you buy?
The major thing I love to see in all stories is “the human heart in conflict with itself,” which is a quote from Faulkner’s Nobel Prize acceptance speech. I want to see a character who is dealing with some sort of conflict, whether an external struggle like plot obstacles or an internal one like trying to overcome flaws or to grow in relationships, or ideally both external and internal. But the story also needs to make me FEEL something about that character who is in conflict. I get many stories, by writers who’ve been to workshops, that have a character in an interesting situation, but the writer isn’t executing the story such that the writing makes me feel what it means to be who that character is. For me it’s not enough just to see the character or focus on them; the story has to resonate off the page and make me feel for the character. Continue reading “Interview: Graduate & Guest Lecturer Scott H. Andrews”
Odyssey 2005 graduate Kate Marshall is the author of the young adult novels I Am Still Alive and Rules for Vanishing (Viking Children’s). Her science fiction and fantasy fiction has appeared in Beneath Ceaseless Skies, Crossed Genres, and elsewhere. She lives outside of Seattle with her husband, a dog named Vonnegut, and two small children. They all conspire to keep her on her toes.
Part 1 of this interview, posted last Sunday, is available here.
You used to read slush for Beneath Ceaseless Skies. What were some of the things you learned from reading all of those stories?
The main thing I learned was that there’s a whole lot of “fine” and even “good” writing out there, far more than there is “bad” (in the slush, at least). The competently written stories abounded, and at first it was very hard to turn those down. There was nothing wrong with them, after all. But eventually, I learned to recognize the gulf between competent writing and a great story. There wasn’t one thing that set every great story apart; it wasn’t that clear-cut. It might be a killer voice, a grab-you-by-the-throat opening, an ending that left you feeling downright emotionally wobbly. Every one of those stories had something that provoked a reaction, and studying the difference between the death scene that was merely competent and the one that felt like a knife to the gut helped me start to think about what the true core of my stories was.
I also learned just how true it was that rejections can mean more about the magazine or the editor than the story. Stories just didn’t quite fit with BCS for one reason or another—or I’d just read another, similar story that did the same thing, which made this one less fresh. And sometimes I made mistakes! Continue reading “Interview: Graduate Kate Marshall (Part 2 of 2)”
Award-winning editor and publisher Neil Clarke will be a guest lecturer at this summer’s Odyssey Writing Workshop. He is best known as the editor and publisher of the Hugo and World Fantasy Award-winning Clarkesworld Magazine. Launched in October 2006, the online magazine has been a finalist for the Hugo Award for Best Semiprozine four times (winning three times), the World Fantasy Award four times (winning once), and the British Fantasy Award once (winning once). Neil is also a six-time finalist for the Hugo Award for Best Editor-Short Form and two-time winner of the Chesley Award for Best Art Director.
Additionally, Neil edits Forever—a digital-only, reprint science fiction magazine he launched in 2015—and The SFWA Bulletin—a non-fiction periodical published by the Science Fiction and Fantasy Writers of America. His anthologies include Upgraded, Galactic Empires, Touchable Unreality, More Human than Human, The Final Frontier, and TheBest Science Fiction of the Year series. His most recent anthology, Not One of Us, was published in November 2018 and will be followed by The Eagle has Landed in July 2019.
As a guest lecturer at this summer’s Odyssey Workshop, you’ll be lecturing, workshopping, and meeting individually with students. What do you think is the most important advice you can give to developing writers?
I don’t think there’s anything I’d raise to that level, but I do often recommend that developing writers and editors volunteer as slush readers somewhere. The experience gives you insight into the common mistakes most writers are making and the distance you might need to start recognizing them in your own work. You’ll also see the current trends and get a good sense of your own place in the field. I’ve yet to meet a slush reader who hasn’t underestimated their skill level. The rule for writers is to quit when you stop learning. Potential editors should keep going a few more months, just to see if they can hack the experience when it becomes routine.