Chicanonautica: Jamming at the Center for Science and the Imagination

 

by Ernest Hogan

The last time I did something with Arizona State University’s Center for Science and the Imagination was for Us in Flux, during the early part of COVID epidemic, the result was a story called “Tomorrow is Another Daze” that they published on their website. It was fun and they paid well.

So, when they asked if they asked if I wanted to participate in a workshop, that would result in another story, I said yes. The fact that they paid was a factor. When I get an email asking me to do something, I scan through looking for numbers and dollar signs.

Unlike Us in Flux which done through Zoom, Sound Systems, about the future of orchestras was live, so I did a park and ride to the ASU campus in Tempe. The local light rail is where you find black and brown Phoenix, talking, gawking, and noodling on their hand-held devices. Gliding through all the shiny, new apartment and office buildings felt futuristic.

Tempe had changed since I had last visited. The ASU campus has expanded; there is no clear division between the campus and the town. A border has been erased. New sci-fi-ish buildings tower over the old streets.

The older I get, the more the world seems sci-fi to me.

The Centerpoint building, where the CSI (what everybody calls the Center for Science and the Imagination) offices are, and retail/restaurant spaces are available, is impressive. The room where we spent most of the next day (and a half) was a great work space, and had a large window on one side, letting us see the sun, trees, grass, and people walking by on paved paths.

This really was a workshop, with an emphasis on work. We were assigned tables, each of which had a charging station at its center and a sign letting us know what our team was assigned to discuss and create a story about. Our subject was “Orchestra as Network.”

I was teamed with Paul D. Miller–better known as DJ Spooky–electronic/experimental/hip hop composer, multimedia artist, and writer; Garrett McQueen, a bassoonist, radio host, and activist who works to decolonize “classical” music; and Ashley Lauren Firth, violist, songwriter, educator, activist, and death doula. I was the only non-musician/non-composer, and person at the table not of the African diaspora.

And even though I was the only Chicano/Latinoid in the room, we were a diverse group. Jamaica, India, Nigeria, and the Asian diaspora were represented. Our four groups had a science fiction writer each, the others were either musicians, or otherwise involved with orchestras, and one worked in medicine.

Time was divided between discussions of the subject with the entire group, then breaking up into our smaller teams, to create our stories.

The discussions were wonderful. So many interesting people from different backgrounds. Ideas, information, and opinions flew. This is the sort of thing that should happen at science fiction conventions, but doesn’t anymore, in our age when the genre has become about worshiping corporate franchises.

Afrofuturism was not only discussed, but happened. Sun Ra, Octavia Butler, Samuel R. Delany were evoked. DJ Spooky and I both recommended George S. Schuyler’s Black Empire. The resulting book will not be about preserving sacred western traditions.

And it wasn’t all just work talk. We all took a walk through the streets of Tempe to experience Garth Paine’s 3D sound environments that even include audience participation through our phones. There were breaks, snacking, meals. Several participants expressed the desire for a direct brain-to-sound instrument–something that technology is coming close to creating. I got to meet Sheree Renee Thomas, editor of The Magazine of Fantasy and Science Fiction and warn her that I’d be sending her stories soon. Some of the best talk came with people relaxed, a little drunk, revealing what it’s really like to work in an orchestra.

Also, the academic discipline helped keep us on track.

The non-writers will contribute short essays based on the experience. I’m excited about the story we developed. The Sound Systems book will be exciting.

This is a great way to do a themed anthology. I’d gladly work on similar projects in the future.

Hmm. Maybe a Chicanofuturist one . . .

Ernest Hogan is preparing to dispense Papí Sci-Fi’s Ancient Chicano Sci-Fi Wisdom and write his Sound Systems story.

Marketing and the Working Writer

Michael Sedano


People who write for a living write for a living. That’s not a tautology but economics. There are infinite pro bono marketing opportunities available, precious few where there’s income. A writer’s livelihood depends on being paid for their work, whether by selling a book or a workshop.

It’s a crying shame pedo over a non-refundable seat ruined some of the enjoyment for working writer Ana Castillo, and her local anfitrión. Even though there’s silver lining for others observing this, nonetheless there’s a shadow over the recent La Bloga-sponsored Ana Castillo Face Your Fears writers workshop.

I shouldn’t take it personally that a workshop registrant stiffed Castillo, but it happened under my roof and my mother raised me to be a better host than that. For the working writer, holding fee-based workshops makes a necessary contribution to one’s livelihood, small one considering the wear-and-tear of travel.

Limited seating by design caps the income from a given workshop. The writer’s break-even point swings wildly when one registrant doesn’t pay the workshop fee. When the upfront gamble doesn’t return 106%, the writer can put that money in the bank at 5% and save the hassle of travel and random pedo.

Castillo’s workshop plan specifies payment in advance, via Pay Pal transaction. The workshopper understands that enrollment comes with a no refunds stipulation.

Despite this, one aggrieved no-show demanded a refund. One can only guess at the justification. It’s Castillo’s fault the person has an emergency, so Castillo should pay for it. There’s the purely selfish: $135 is a lot of money, worth more than a person's word. More charitable excuses might be conjectured.

No one needs values when Pay Pal’s on the job. Pay Pal gives people an easy out. Beef the charge and Pay Pal fines the working writer. The reneging workshopper walks away with money, less Pay Pal’s non-refundable service charges. The working writer is out the budgeted income, puro loss and hard feelings.

It is what it is, but imagine this workshopper getting stuck in traffic and missing a thousand-dollar performance of Hamilton. Think the impresario will refund the ticket? Pay Pal won’t. You paid for that seat and no one else could sit in it.

Ana Castillo shared the details of this particular experience on her Facebook page. She points to the economics, the hard realities, a writer accounts in marketing one's work:

The small size allows each to work one on one with me. An email explaining this policy explains that it is non-refundable and non-transferable. In addition to securing the venue, my travel expenses, both air and ground, lodging, meals, time way from home, and the service provided are all my own. Therefore, if a person cancels, especially last minute, I am not only out of pocket but someone who might have wanted to be in the workshop was unable.

I was bummed by the sour note because, on La Bloga’s behalf, I welcomed the workshop into my home, so this travesty happened under my roof. Casa Sedano, the home of a pair of English majors, has welcomed diverse literary functions over the years, but never a writers workshop. I wanted this to be perfect for the writers and Ana Castillo.

Beautiful people showed up. They charged the atmosphere with high energy and creative fervor. They talked writing, literature, the writing life, art.

I set out light snacks then got to sit with Eddie Rodriguez, Castillo’s husband, a fellow Army Veteran, and share books and arts platica. The workshop at Casa Sedano was near-perfect.

I almost pulled off a perfect workshop last year. I’d arranged a funding commitment from a benefactor whose gift would cover a budget that would have flown a writer to Pasadena, put her up at a good place, paid an honorarium equivalent to 15 tuitions, and awarded 15 tuition-free scholarships to young area writers.

The event would be a proto-Floricanto, or small scale analog of the National Latino Writers Conference. Make the first one happen then challenge myself to go annual.

That idea fizzled over tax-deductible issues and institutional mordidas. If I could have pulled off the full-ride workshop event, that would have eliminated money, the source of pedo at the Casa Sedano workshop. Cal State-Wherever foundations rake off 15% to come under their tax-deductible umbrella. Dining room workshops cut out the institution and its mordida. But the tax-deductibility, aye, ahi ‘sta un detalle.

Writers know that holding workshops can be sweet gigs that develop a readership while replenishing one’s marketing budget. Presenting workshops fulfills multiple responsibilities to the community—giving back, nurturing new voices, growing--and while doing good with an expectation of reward is folly, doing good should not be rewarded with pain nor pedo.

Businesses plan for no-shows, refunds, and “free freight” by charging everyone more. (In a really slick move, companies “chargeback” money that went into collections last year as a way to reduce the commission earned by a new salesperson.)  When there are no refunds, business calls that coming in under budget and the overcharge goes straight to the bottom line.

Emulating corporate deontic logic of “you must make more money,” a writer would have to overcharge every seat in order to build a buffer against a no-show.

Writers aren’t mercenary like businesses. Artists don’t pull that crap on other artists. Chicanas don’t pull that crap on other Chicanas. Yes, they do. People do all sorts of crap to others when money is on the line and the only penalty, thanks to Pay Pal, is to the writer. The sin vergüenza gets all defiant and says she got most of her money back y que.


$20 At the Door--No Pay Pal--Benefits Writers Workshop In San Antonio 

Friday, July 27, 7-9pm, Sandra Cisneros will read from selected works in a fundraiser for the Macondo Writers Workshop. Author John Phillip Santos will introduce her at the event.

See Macondo's website (link here) for more. or the event's Facebook page.

Is this Your Year to Join the Santa Barbara Writers Conference?

Melinda Palacio

Melinda Palacio and conference director Grace Rachow circa 2003

Today is the first day in June and that means it's time for the Santa Barbara Writers Conference. This year mark's the SBWC's 46th anniversary. I've been attending the conference in some form, either as participant or volunteer (this year as a workshop leader), for the past sixteen years. Where I once was a frightened newbie, intimidated by all the writers and instructors, I am now an old-timer who has learned all about the business of being a published author.

My first year, I sat in on Barnaby Conrad's class. Barnaby, along with Mary Conrad, founded the conference. He was an excellent teacher who talked about the most important ingredients of being a writer: writing and transformation. He made sure everyone remembered that writers write; it's as simple as that. He also told everyone that he guaranteed they would not leave the same after a week at the conference. The latter required a leap of faith, but it was true: a week at the conference changed me and gave me the confidence I needed to declare myself a writer and go on to become an award-winning, published author, poet, speaker and teacher.

SBWC founders Barnaby and Mary Conrad

When I arrived at the conference, I had an idea for a novel, but no clue as to how to go about writing an entire book. I wrote short lifestyle pieces for newspapers and magazines, not books. I can laugh now at how long it took me to figure out how to navigate a conference that offered so much in one week. There are classes on every genre every day, evening and day speakers, special workshops, and after-hours workshops, known as pirate workshops. One year a woman showed up in full pirate regalia, she was sure changed and perhaps a little embarrassed when she found out there would be no swashbuckling or speech beginning with ARG.

By my third year, I figured out how to absorb all of the offerings at the conference. I became a volunteer. I loved returning to the community each summer. I won first prize in poetry and an honorable mention in fiction and have been on the new book panel. I've published a novel, Ocotillo Dreams, about immigration in Arizona, a chapbook Folsom Lockdown, and two poetry collections: How Fire Is a Story, Waiting and Bird Forgiveness, my new poetry which will be available next week. This year, I will present my new book at the conference and participate in a mixed-genre panel, as well as co-teach a workshop with Lida Sideris, Writing Through the Fear, a subject I'm quite knowledgeable in since I started off as a fearful writer.

Thank you Santa Barbara Writers Conference for a rich career in writing, inspiring aspiring writers to persist with their dreams. There's still time to sign up for the Santa Barbara Writers Conference, make an appointment with an agent or editor, or choose a day to attend. Barnaby Conrad, Ray Bradbury, and some of the regulars who started the conference may no longer be with us, but their generous spirits continue to grace the conference. Take a week off, hone your craft and be forever changed for the best. This year's conference is June 17-22.

The cover of my new poetry book, Bird Forgiveness, has original artwork by Sylvia Santamaria.

Be a Santa. Writing workshops. Arte Público.

Santas needed for striking farmworkers' niños

La Bloga was asked to pass along this request:        

"I am having a Navidad dinner for the workers who have been on strike since September against Sakuma Brothers Farms, a national agri-business, for its unfair labor practices.

"I would like to give the workers' children books for Christmas. Would any authors or others be willing to donate children's books to this event? I am in need of young teen books, but books for 5-10 year olds are also most appreciated.

The dinner will be on Dec 16. Please sent books to: Angelica Guillen, 20946 Lake 16 Rd., Mount Vernon, WA 98274.

Gracias! Angelica Guillen

Donate (button) to the Sakuma Workers' Fund.

More info about the strike.

Felix Gomez fans beware!

Followers of vampiristo novelist Mario Acevedo might be naively happy about this message from the author:

"I typed THE END. Draft one of Rescue From Planet Pleasure is done, cabrones!"

Will the toothy, macho-fatale Felix Gomez be detectiving again in time for Xmas 2014? Browse the shelves of your local blood bank, to find out. Or Acevedo's website.

AWP Panel: 35th Anniversary of Arte Público

From J.L. Torres, Professor of English at SUNY Plattsburgh:

Any writers published by Arte Publico Press going to the AWP conference in Seattle who may be interested in participating on a reading panel celebrating Arte Publico's 35th anniversary, please shoot me a message.

Arte Público books by raza authors - gift ideas

Writing workshops for people of color

Applications are now open for the June 22-28, 2014, VONA/Voices Summer 2014 writing workshops to be held at the University of California, Berkeley. Junot Díaz, among others, will be one of the master faculty.

From their website:

"VONA/Voices, the only(?) multi-genre workshop for writers of color in the nation, brings writers of color from the margins to a community where their work is centralized and honored. Join us for a week of writing workshops.

"In all workshops, writers exchange their works, share strategies and have discussions vital to their craft, practices and lives as writers of color. In the residencies, writers work one-on-one with their master faculty member and meet with the residency group. All writers of color are welcome to apply regardless of experience, age, or status."

Es todo, hoy,

RudyG