From 2e2f52c3ce374eeff9124354014999d27cf8ebc1 Mon Sep 17 00:00:00 2001 From: Madison Scott-Clary Date: Mon, 6 Feb 2023 14:15:10 -0800 Subject: [PATCH] update from sparkleup --- writing/workshop-packet/essay.html | 11 +++++++++-- 1 file changed, 9 insertions(+), 2 deletions(-) diff --git a/writing/workshop-packet/essay.html b/writing/workshop-packet/essay.html index 61a78726c..799d3cf3d 100644 --- a/writing/workshop-packet/essay.html +++ b/writing/workshop-packet/essay.html @@ -26,16 +26,17 @@
  • How is that usually accomplished
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  • Adapting workshops
  • The two workshops
    1. OCWW
    2. FCWW
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  • Adapting workshops
  • Conclusions

    • Writing what’s important to us helps us to build styles, language, and stories of shared meaning. Fandom and subculture spaces provide authors with a meta-genre of sorts in order to explore this shared meaning. By leaning on each other for support, the members can build up a corpus of their own, something that resists commercialization outside of those spaces, and builds a stronger sense of in-group community.

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    Over the last four months, I’ve had the privilege of running two writing workshops and four writing classes within the furry subculture.1 The first workshop took place at an online furry writing conference called Oxfurred Comma hosted by the Furry Writers’ Guild, involving three authors learning about writing critique through the process of critiquing each other’s work through a Twitch stream visible to other attendees of the conference. The second took place at Further Confusion, an in-person convention in San Jose, California, and focused on a more general set of sessions regarding critical reading and critiquing writing.

    My goal with running these workshops and classes was to explore what specific aspects of fandom and subculture writing can be incorporated into writing workshops.

    For the purposes of this project, I’m leaning on two working definitions, one for ‘fandom’ and one for ‘subculture’.

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  • Dialogue tags often use the construct of “the [species] said”, rather than relying on names. This is seen as helping reinforce the view of the character in the reader’s mind.2
  • Adding elements that “make the story furry” is seen as important. Some writing is considered “funny animal fiction” or “coffee shop fox stories”, where the nominally anthropomorphic characters could be replaced with humans with no detriment to the story. These are often described glibly as “zipperbacks”, referring to the idea that fursuits, costumes of anthropomorphic animals, contain a zipper down the back used to put them on and take them off. These elements can take the form of tails wagging, ears perking, or the importance of scents, given the preponderance of canines, but can be as elaborate as including the social implications of shedding or the requirements of tail accommodations.
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    With all of this in mind, I scheduled two workshops to run during conventions and adapted a standard workshop template to include discussions and critiques of these features in furry writing.

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    The first of these workshops took place during the online convention Oxfurred Comma, hosted by the Furry Writers’ Guild.

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    ((About OCWW))

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    The second workshop took place in-person at Further Confusion, a mid-sized convention (for furry, at approximately 4,500 attendees).

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    ((About FC))

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