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%title RAWR day 1
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%title RAWR day 1
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# Administrator lecture
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* History
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* Goal:
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* Bring everyone together
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* Lean on instructors and others
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* Structure:
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* Morning: Lecture:
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* In the drive, lectures are explained in EVENTS
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* Living schedule
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* Reading:
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* Monday/Wednesday
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* Reading/critique of stories:
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* Discussions just talking about stories
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* Critiques have specific structure.
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* Critiques need to be in before session.
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* Coaching:
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* Entitled to single session with each instructor
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* Aim for doing after critique
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* Code of conduct:
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* Don't be a jerk
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* Conversation, not a shouting match
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* If something makes you uncomfortable, say something
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* Harassment policy:
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* If you feel someone's conduct is inappropriate
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* Let either the other person or an instructor know
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* Feedback and complaints:
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* Lean on email - Alkani
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* Survey after
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* Post event:
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* Survive the Crucible - very compressed event
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* Emails will be transferred to alumni list
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* Slack after
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* ReRAWR
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* 50% discount for [Archivos](https://www.archivos.digital/) tool - mindmapping, cloud-based, etc.
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* Staff and Instructors:
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* Kyell Gold:
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* Been doing it for about 6 years, Alkani runs logistics
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* Weird doing it in person, hang out online!
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* BG:
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* Attended Clarion 10 years ago
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* Writing for a long time, hope to share
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* Dayna Smith:
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* Met Kyell at novel workshop
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* Lecture given elsewhere (Wiscon, etc).
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* Read "Hangdog"
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* BG:
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* Clarion 6 years ago
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* Mostly novels, but also writing for Lovestruck (app)
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* Suggestions:
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* Hang out in common room often to learn from each other, etc
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* Learn from each other, take chances
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* Stay in touch, use alumni network
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* The story that we produce will be a first draft, nothing needs to stay secret, don't worry about making it polished
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* All of us help each other become better storytellers - no one wins the workshop, or rather, all of us win it
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* The Story:
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* One thing we will be doing here is creating something wholly new
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* That will be Th critiques
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* From Julia Rios (started at Strange Horizons, moved to Uncanny)
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* "Come up with something new, doesn't have to be long (follow RAWR guidelines), but it has to be complete"
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* Don't freak out - you get out of it what you put into it
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* Know what you can do on the fly, so this shows what you can do, have fun
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* Useful if you have a deadline if you're prone to overthinking
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* Critique:
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* The better you learn how to critique, the more you learn about your own writing, let you critique your own as you work
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* The point is to help the author improve the story, how to make it more effective
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* Author is always free to reject a critique, but every critique is valid
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* How:
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* Read it through once to get a sense of the story, let it work its magic
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* Go back with 'red pen', what worked, what didn't work, where did we fall away, what was exciting, characters, what to see more of, what to see less of, etc
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* First readthrough shows where the author is going so you can see early setups pay off
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* First time, author just listens
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* Mechanics:
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* Make notes with whatever program
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* Written critique - basically an essay about feelings of story:
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* Was the story engaging? Was there a point where it lost you/you got bored? (MEGO - my eyes glazed over; red line through story where it stopped being engaging)
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* Story components:
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* Setting (add to the story)
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* Characters (interesting)
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* Description (clear and enjoyable picture)
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* Language (nice to read)
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* Dialog (flow, not *too* realistic, more like movie dialog)
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* Story and plot (satisfying, useful structure)
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* Highlight both good and improvement
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* A few minutes to read through essay during critique (or bullet points)
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* Instructors will have longer critiques
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* Critique story, not author (don't hearken back to other stories, etc)
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* What was intended, how effective was that
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* Positive, yet constructive:
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* even if it doesn't work for you, find positivity
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* Helps for saying nice things about your own story
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* Aim for 'improvement' rather than just 'didn't like it'
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* Don't try and rewrite:
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* "If this were my story, I might do..."
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* not "You should do this"
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* If multiple people say that something didn't work, they're probably right, but if they tell you how, they're probably wrong
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* Author can ask for that during dialog after silent listening
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* Receiving critique:
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* Be prepared for folks to tell you what's wrong with the story (compliments make it easier)
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* Take a lot of notes (make sure to write down praise, very easy to forget praise, important to have sense of what you do well)
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* Every critique is valid, but you'll never get 100% agreement, up to you to decide if you'll tweak
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* When brought into the discussion, that's when you can ask questions
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* From both sides, trying to make the story better, so accept critique in that spirit
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# Instructors' lecture
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# Assignment
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# Social
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