Tag Archives: small press

Orycon 31 Wrap-Up

I just got home from a weekend at Orycon, Portland’s Science Fiction convention. Since I didn’t really attend Vcon I can say that this is the first fan con I’ve been to probably since Worldcon in Toronto. Orycon is a midsized convention I think, neither as large or Dragon Con or Worldcon  but not as small as Vcon.

I can only speak to my experiences from being there as a pro, in writing and editing. My early experience was with the committee in charge of organizing the panels. First, they found me through this blog as my email had changed since the last time I was down (probably a dozen years ago), and sent me an invitation to attend. They then sent out a list of possible panels and asked which ones I might like to be on. This form allowed for submitting a bio and a bio picture at the same time.

A couple times I needed to contact the committee to clarify some things (such as was the reading at midnight Saturday meaning midnight Friday because that’s technically Saturday) and they got back to me promptly. Thanks to Kami Miller and Rick Lindsley for all their help and organizing the panels well.

I did notice on site that there were no bios at all except for the guest of honor so I’m wondering why we needed to submit it. A bit disappointing that but the panels were listed in the large program book and the little pocket booklet. It would have been better to put some bios in the program book and left the panels to the booklet but then they needed room for describing them. I had offered (beforehand) to fill in on a couple more panels if needed but I never heard back and I did notice several panels only had two people on them. However, there were panels offered on art, editing, writing, costuming and other fan-oriented activities so that there were about five panels or more on at all times.

The booklet listed panels by room or by time and basically you could cross reference any way you wished. The kept all the readings off of the main listing though and had them separate which means many people missed them because they weren’t listed in the regular schedules. And I guess they were several hundred programs short in the printing.

I went to the art show, which was so spread out in a very large room that it look kind of empty. It might have been better to put the art panels closer together. The show ranged from the professionals like Lubov (the artist GoH), Alan Clark and a few others to the amateurs. There were fewer pictures of characters from Star Trek and other shows but it almost seems as if the unspoken theme was that of dragons.

That theme of dragons carried over into the dealers room, which was quite large. From what I could see I’m predicting Steampunk is on a huge rise and it will be flowing into mainstream fashion soon. There were many steampunk items from hats and goggles to other mysterious items and corsetry. There were very few books at all in the dealers room and the only presses selling their publications were Apex Book Company, Bizarro Fiction from Eraserhead Press,  and Talebones/Fairwood Press. I meant to go back and by one of the Bizarro books but forgot (and Apex too).  Darn. But the dealer’s room had gadgets, toys, comics, books, clothes, jewellery and all the goodies that people love to buy.

I missed taking a gander at the dance or masquerade and though there were few room parties they were fun and casual. The Pirates of the Columbia hosted one and I think they just do it for fun, plus there was the Radcon party, the hospitality suite and IRoSF, which my brain is blanking on right now.The costumes I did see were quite fun, from women in baroque dresses (complete with ship on the hair) to steampunk farmers and the Joker.

The hotel itself seemed fairly nice, and new from the Jantzen Beach hotel of previous Orycons. It was an extremely cold hotel though and they could have done with turning up the temperature a couple of degrees. I didn’t eat much but the food seemed all right and the hotel very apologetic when they screwed up our reservation. The rooms were quite spacious and nice with small balconies.

I’m notorious for not getting to panels at cons. Because I arrived at 6 I don’t think I attended a panel Friday except to do a reading at midnight in conjunction with Darklady Reed, Kal Cobalt and Tami Lindsley (hopefully I have those names right). Saturday I moderated the “Drowning in Slush” panel and attended one on Steampunk and on neural interfaces.  That’s a better average than usual. The Steampunk panel was quite interesting and well balanced. The neural interface panel was in jeopardy of being dominated about people talking about their disabilities but was save by the other panelists extrapolating into what’s being done and where it might go. And I managed to chat with the physicist so that I can worked out the logistics of a virtual environment story I’m working on.

Overall, I enjoyed the con and would consider going again. I also lucked out on driving weather, which was perfect. With stopping to visit friends, it was a pleasant (if long) drive.

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Writing: Poetry Markets in Canada

I’ve been asked by people where to send poems and what markets there are in Canada. Like the US and probably other countries, there are usually numerous literary magazines, either sponsored by universities and colleges or privately run.

Literary magazines can run the gamut but usually put out a perfect bound (a glue square-edge binding) trade size book, with fewer in a magazine format. The reason for the size is often the break for mailing rates, as well as what is visually pleasing. Of course there are many online magazines or those that do paper and digital at the same time. In Canada, the literary magazines could be funded by the university, provincial or federal arts grants (though these have been cut back to the demise of various arts organizations), advertising or by running contests. The latter has become a popular choice in the last ten years or more, where the magazine will hold a yearly writing contest and the entry fee can be anything from $5-$30 depending on the contest.

The bad thing with this is you only have one chance to win, or three if they have first, second and third places. The good thing is that the magazine continues to run and can pay their authors for their work. Literary magazines will vary in pay for poetry. Many may have a set rate, $50/poem, $10/poem plus a year subscription, while others will have a per page rate such as $25/page.

Other magazines are called genre magazines though I argue that they too are literary even if the focus is on fantasy or science fiction. Some of these are well-established and pay as well as the literary magazines, which on average will pay anywhere from $25-$100 a poem. A hundred bucks is a good price for a poem, unless you’re Margaret Atwood. Then you probably get more because your name will help sell more issues.

The genre and small press magazines are more likely to pay for poems by line or even by word though a fair number also have a set price that they pay . When you get to the small small press, mom and pop magazines run out of the basement of someone’s house it can be a smaller amount paid for a poem. Some of these magazines might only pay in copies and I would never submit anything without at least getting contributor copies. After all, how would you even know they printed your piece unless you had a copy and every writer should be paid. I personally don’t submit unless pay is offered for a poem and I don’t really send my poems anymore to places that offer $2 or $5 but I might. And I do send to some reputable magazines that pay $10/poem.

My reasons might vary with the seasons as to where I send. Some magazines are small and chapbook size  (8.5X11 pages folded in half and stapled usually twice) as this is a simple method for people who do not have the budgets for larger sizes and is a popular small press format. My own chapbook of speculative verse, put out by Kelp Queen Press was of this format.

It used to be that magazines, especially the literary magazines only accepted submissions through the mail. With the advent of computers in everyone’s home, more people started writing poetry and with email they would send off every little drib and drab set down. Magazines find the quality of the submissions is lower when they come through email, and therefore to discourage every would-be writer, they stuck to the snail mail method where people seem to take more time on their piece before they send. This is changing and many magazines are using the online submission format. You register and log in, uploading your file and adding some notes. You get an email receipt and can track where your submission is in the process and the magazine can track when items were received.

Most magazines ask for 3-5 poems at a time. It’s best to follow those rules and follow their guidelines (many of the college run magazines close for the summer when students are away). As to where to send your work; well it should suit the market you’re aiming for. Whereas genre markets require a particular genre and literary markets require the literary genre, when it comes to poetry there is more leeway. Poetry has often encompassed the mythical and surreal, using metaphor and simile liberally so a poem with angels or even a minotaur will have more chance of being accepted in a literary magazine than a story would. Most magazines have an online presence and may have a sample of the writers they publish. It’s always wise to read through these and get a feel for what they prefer or buy a copy if you can afford it.

OnSpec, Chizine and Neo-Opsis are three English language speculative magazines that accept poetry (I’m afraid I’m not up on the French-Canadian markets). Descant, a literary magazine out of Toronto, is open to some speculative elements. In no particular order, some of the literary magazines in Canada are Malahat Review, The Front, Broken Pencil, Capilano Review, Prism, Prairie Fire, Antigonish Review, Arc, Event, Fiddlehead, Grain. There are just as many if not more in the US and the best place to check for poetry markets is www.duotrope.com. For speculative specific markets www.ralan.com is the place to go.

The biggest part, as I’ve said before, in getting poetry accepted is perseverance; that’s both in writing and rewriting and in submitting. But there are many, many markets (even with the economy slump) and places for sending poetry.

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