Tuesday, July 22, 2008

One of the Clarion posts I wasn't going to do, but...

Several people wrote to ask why I wasn't doing a Coraline movie panel in San Diego on Saturday, as mentioned on this blog a few months ago. Laika had asked me to do it originally (and that was when I mentioned it here) but, as far as I know right now, all the Coraline people are madly beavering away trying to get the film finished in time, they've never mentioned it again and it's not on the Comic-Con schedule.

Dude-Sure La Jolla is ten miles away from downtown San Diego, it's also only ten minutes away! So why can't you stop by the con one day? After all how hard can teaching be? Aren't your
fan worth it? Late - Chip

They definitely are -- that's why I'll be doing a reading at Mysterious Galaxy tomorrow, and a signing (but I think all the signing numbers are already given out).

As for teaching not being that hard, I'm sure you're right. But whether it's hard or not isn't really the point. The work days start at 8:30am and go till about midnight. Clarion is boot camp for writers -- it's intensive story round table criticism in the morning. In the afternoon while the students write stories (they write at least six stories in six weeks, sometimes more), I'll be doing an hour of individual work with each student (there are 18 of them this year), and giving talks on specific subjects that students want to know stuff about (talks still to come: Writing Comics, Writing for Film and TV, and one on Story and Myth), introducing evening guest speakers (tonight we had author David Brin, with comics genius Scott McCloud and editors Patrick Nielsen Hayden and Liz Gorinsky coming in later in the week), while nights are spent reading the stories we'll be critiquing the following morning.

It's really a fun and fascinating experience for me as a visiting instructor: I'm over my initial terror and I think the students are learning lots -- probably more from each other than from any of the instructors. But it's not a schedule that's really made for nipping in to Comic-Con and doing an imprompu panel or signing. Depending on how many of the individual student conferences I have on Saturday, I might be able to get into the con for a few hours, but if I do I'd spend the time trying to say hello to old friends, or even try and catch some panels. Then I'll need to get back earlyish on Saturday to meet Geoff Ryman and Nalo Hopkinson, who together are teaching the last two weeks, and to fill them in on anything they could need to know.

(I was made very happy to learn that some of the Clarion students learned about it from this blog, by the way.)

Mr. Gaiman, my name is Bruno D'Alincourt, and my question is, how you draw up its dialogues?

If you speak alone, get you.
If you use your cats.
His family.
Your friends.
Or another case to let their texts flow as if they were called in real life.
I know that the dialogues that make the story (For more fícção or description that is) more 'family' possible, as had already been counted and so many can identify with it.
Since already thank you very much.
But unless we see more, having a good morning, good afternoon and a good night.
And you are truly happy.
What all you want God to give you twice.
And do not forget what happened to the man who has everything I wanted ...
... He had a happy life for all forever.
I hope that this humble reply fan.
Me sorry for my English badly written, promise better.
Anything we see in the future.

I don't really know what it is you're trying to find out, Bruno, but I think you ought to know that what the translator program turned it into was practically poetry, if it wasn't already.

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