Many thanks to last week’s guest blogger Joshua Palmatier for doing a post for me while I was away at Milford SF Writers’ week in Snowdonia at the lovely Trigonos, Though they do have wi-fi there now, it tends to be intermittent, so I wasn’t sure how much connectivity I would have. Also I was working on my little Dell laptop, bought (reconditioned) for travelling. It’s nowhere near as convenient as my desktop machine which has a 23 inch monitor and a lovely clicky keyboard.
Milford is practically an institution in it’s own right. It was started by a bunch of well known, well respected professional SF writers in Milford Pennsylvania in 1956. Damon Knight being one of the prime movers. James and Judy Blish brought it to the UK in 1972 and with only a couple of exceptions it has run annually ever since.
The Blishes organized it at a venue in Milford on Sea. Anne McCaffrey chaired the first one, and the rank and file consisted of Mark Adlard, Brian Aldiss, John Brunner, Ken Bulmer, George Locke (‘Gordon Walters’), John Murry (‘Richard Cowper’), John Phillifent (‘John Rackham’), Chris Priest, David Redd, Josephine Saxton, Andrew Stephenson and Peter Tate. In the subsequent four-and-a-bit decades many SF luminaries have passed through: George RR Martin, Brian Aldiss, Bruce Sterling, Charles Stross, Alastair Reynolds, John Brunner. David Langford, John Clute… and many more. You can see more about MIlford’s history here http://www.milfordsf.co.uk/history.htm and more about Milford itself here http://www.milfordsf.co.uk.
What do we do?
Milford is all about writing. Stick fifteen writers in a small venue in the middle of Wild Welsh Wales for a week and you get some amazing results. Everybody bonds. (Note bonding is not compulsory, but in all the years I’ve been involved there have only been a couple of people who have resisted the camaraderie.) That’s not to say we live in each others’ pockets for the week. We have a schedule which goes something like: Saturday arrive and settle in (and have dinner together) Sunday to Thursday inclusive, mornings are your own; afternoons are formal critique sessions and evenings are social time. (Though if you want to sneak back to your room and write, there’s nothing to stop you.) We send round our pieces for critique two to three weeks before Milford starts to give ourselves chance to read and critique in advance. And the workload is heavy, so it makes sense to get as much done as possible beforehand.
When choosing what to send in the general advice is to send an unpublished piece (or two pieces) of not more than ten thousand words altogether. Make it as good as you can but sometimes if you’re having trouble with a piece that’s also a good reason to select it for scrutiny. This year I sent a section from the work in progress, The Amber Crown. It’s a book with three viewpoint characters and though it’s kinda, sorta finished I just added a whole load of story for my female character, Mirza. Though her chapters are interspersed with the other two (Valdas and Lind) I pulled them all together into one continuous piece. I received some really interesting critiques, but nearly everyone said that the long flashback was problematical, but a couple of people suggested writing it in real time and inserting it as an extra chapter earlier in the book. At one time Mirza didn’t appear until Chapter 9, now she’s right there in Chapter 2. I’m happy with that.
Few people got massively adverse comments. Everyone said that the comments they did get were really helpful. (And they are always delivered constructively.) You probably learn as much – if not more – from critiquing otherpeople’s pieces than you do from having your own piece critiqued.
It was one of those weeks where we seemed to be laughing all the time, even though Wales was trying to drown us in rain for most of the week. Predictably the rain cleared up on the last day for the drive home.