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My BayCon Schedule 2016

May 10, 2016 by deirdre Leave a Comment

BayCon - San Francisco Bay Area science fiction & fantasy convention
I have two panels at BayCon this year, which will be held from May 27-30 at the San Mateo Marriott San Francisco Airport (this is a change of hotel from the previous years).

BayCon Guests of Honor

Writer Guest of Honor: David Gerrold
Artist Guest of Honor: Chris Butler, F.R.A.S
Fan Guest of Honor: Anastasia Hunter
Toastmasters: Library Bards

BayCon Charity

BayCon’s charity this year is SETI Institute.

My BayCon Schedule

I’m on two panels, one on Saturday and one on Sunday.
The good, The Bad, And The WTF of Cover Art
Saturday, May 28 2:30 pm, Connect 1
Forget judging the book by its cover, sometimes you can’t even identify it. Our panelists discuss highs and lows and just plain weird in the world of cover art.
WordPress
Sunday, May 29 11:30 am, Connect 1
Methods for making the most creative and effective use of WordPress.

Programming Schedule

The full programming schedule is available here.

Filed Under: Conventions, Graphic Design, WordPress, Writing Tagged With: baycon, conventions, fantasy, science-fiction

Campbell Award Eligible Writers Anthology

March 20, 2016 by deirdre 2 Comments

AnthoCover3_400
Up and Coming, the 2016 anthology of science fiction and fantasy writers eligible for this year’s John W. Campbell Award for Best New Writer, is now available. This award is the only award given at the Hugo Award ceremonies that is voted on by the Hugo Award voters but is not itself a Hugo Award.
Up and Coming contains 1.1 million words of fiction from newly published science fiction qand fantasy authors, and will be available until March 31, 2016.

How to Nominate for the Campbell Award

In order to be a nominator for the Campbell Award, you had to be a member of one of the following by January 31 of this year:

  • Last year’s Spokane Worldcon, Sasquan.
  • This year’s Kansas City Worldcon, MidAmeriCon II.
  • Next year’s Helsinki Worldcon.

The nomination link is here, and nominations close March 31, 2016.

Complete List of Authors in the Anthology

  • Charlotte Ashley
  • John Ayliff
  • Lucas Bale
  • Nicolette Barischoff
  • Sofie Bird
  • Derrick Boden
  • Stefan Bolz
  • David Bruns
  • Martin Cahill
  • Aaron Canton
  • D.K. Cassidy
  • Zach Chapman
  • Curtis C. Chen
  • ZZ Claybourne
  • Liz Colter
  • Nik Constantine
  • Daniel J. Davis
  • S.B. Divya
  • Margaret Dunlap
  • S.K. Dunstall
  • Jonathan Edelstein
  • Harlow C. Fallon
  • Rafaela F. Ferraz
  • Sam Fleming
  • Annalee Flower Horne
  • Ron S. Friedman
  • David Jón Fuller
  • Sarah Gailey
  • Patricia Gilliam
  • Jaymee Goh
  • Elad Haber
  • Auston Habershaw
  • Philip Brian Hall
  • John Gregory Hancock
  • Nin Harris
  • C.A. Hawksmoor
  • Sean Patrick Hazlett
  • Holly Heisey
  • Michael Patrick Hicks
  • SL Huang
  • Kurt Hunt
  • L.S. Johnson
  • Cameron Johnston
  • Rachel K. Jones
  • Jason Kimble
  • Paul B. Kohler
  • Jeanne Kramer-Smyth
  • Jamie Gilman Kress
  • Jason LaPier
  • Fonda Lee
  • S Lynn
  • Jack Hollis Marr
  • Arkady Martine
  • Kim May
  • Alison McBain
  • Rati Mehrotra
  • Lia Swope Mitchell
  • Allison Mulder
  • Ian Muneshwar
  • Brian Niemeier
  • Wendy Nikel
  • George Nikolopoulos
  • Megan E. O’Keeve
  • Malka Older
  • Emma Osborne
  • Chris Ovenden
  • Steve Pantazis
  • Carrie Patel
  • Sunil Patel
  • Laura Pearlman
  • Samuel Peralta
  • Andrea Phillips
  • Mark Robert Philps
  • Monica Enderle Pierce
  • Ivan Popov
  • Bill Powell
  • Stephen S. Power
  • Rhiannon Rasmussen
  • Chris Reher
  • Ethan Reid
  • Kelly Robson
  • Andy rogers
  • Lauren M. Roy
  • Steve Ruskin
  • KB Rylander
  • Hope Erica Schultz
  • Effie Seiberg
  • Tahmeed Shafiq
  • Iona Sharma
  • Anthea Sharp
  • Elsa Sjunneson-Henry
  • Daniel Arthur Smith
  • Lesley Smith
  • William Squirrell
  • Dan Stout
  • Naru Dames Sundar
  • Will Swardstrom
  • Jeremy Szal
  • Lauren C. Teffeau
  • Natalia Theodoridou
  • Joseph Tomaras
  • Vincent Trigili
  • P.K. Tyler
  • Tamara Vardomskaya
  • Leo Vladimirsky
  • Nancy SM Waldman
  • Thomas M. Waldroon
  • Jo Lindsay Walton
  • Kim Wells
  • Alison Wilgus
  • Nicolas Wilson
  • Alyssa Wong
  • Eleanor R. Wood
  • Frank Wu
  • Jeff Xilon
  • JY Yang
  • Isabel Yap
  • Jo Zebedee
  • Jon F. Zeigler
  • Anna Zumbro

…which is a lot of people, but there are actually more eligible authors than that. Check out this page on Writertopia for who’s eligible this year. This year’s Campbell eligibles are those who had a first professional sale published in 2014 or 2015.
Note, however, that final eligibility is determined by the Hugo Award administrator. Of note, I think Andy Weir (not in the anthology, but mentioned on the Writertopia page) could be ruled ineligible; while The Martian was initially released as a self-published title in 2011, it wasn’t really a professional sale until 2014 when it was re-published by Crown Books. However, the audio book version was published in 2013, and that may be a sticking point. Or not.

I Wasn’t a Member, But One of My Favorites Made the Ballot, Now What?

You can become a member of MidAmeriCon II. Voting will begin in early May. I don’t know when exactly voting will close, but typically it’s some time in July.
The Hugo ceremony will take place at the convention, Wed to Sun, August 17-21, 2016, in Kansas City, Missouri.

Filed Under: Conventions, Publishing Tagged With: conventions, hugo awards, hugos, worldcon

BayCon Panels and Notes

May 24, 2015 by deirdre 14 Comments

BayCon—san francisco bay area science fiction & fantasy convention
I may make it to BayCon tomorrow, but I might not, so I thought I’d go over some of the panels I was on while everything was still fresh.

Friday’s Panels

Writing Handicapped Characters

There was a lot of great discussion about various handicaps though, with the panelists in question, we had more discussion of physical handicaps than mental issues.
From the audience, Sunil Patel mentioned several interesting anthologies. He also said that Kaleidoscope, a diverse anthology, was one of his favorites from last year. (I have a copy, I haven’t read it yet.)
A book I mentioned was Sarina Bowen’s The Year We Fell Down, a romance novel featuring two handicapped characters: one for the year, one for good.

She expected to start Harkness College as a varsity ice hockey player. But a serious accident means that Corey Callahan will start school in a wheelchair instead.
Across the hall, in the other handicapped-accessible dorm room, lives the too-delicious-to-be real Adam Hartley, another would-be hockey star with his leg broken in two places. He’s way out of Corey’s league.
Also, he’s taken.

What worked for me about this book is that Corey deals with her situation: it’s her new normal, and the book does not “cure” her. When things are difficult for her, she figures it out.

Invertebrates are Cool

We had some great panelists for this, including someone who had a background in parasitology and another with a background in marine biology. We tended toward discussing cephalopods because, let’s face it, they’re cool.
Cliff Winnig managed to make me completely lose it in a fit of laughter twice, which was awesome fun. He’s earned his title of “Invetebrate punster.”
I’d meant to bring my copy of Cephalopod Behavior, but forgot to. Probably just as well because it appears to be out of print and now selling for insane amounts of money, and I would miss it if it were to disappear like an octopus.

Saturday’s Panels

Book Covers that Sell Books

If I hadn’t just wiped my iPad, I’d have had a before and after of a cover I redid with me. Here’s the after cover. It uses a free photo, and a couple of other layers. Because this was a print book, I also did a back cover using another free photo.
The panel focused on books that would be print books, but many book covers these days are for things that will never be in printed form, e.g., short stories. For these, you really do need to both communicate genre and not lose your shirt $-wise in the process, and there’s simply no way you can afford to spend hundreds of dollars on a cover for that kind of work.
For A Sword Called Rhonda, I went the same route panelist AE Marling mentioned and found an artist on DeviantArt. A render will almost always sell less well than a high-quality illustration or a photograph, but it’s still an option—and, in most genres, it’ll typically still sell better than something with no person on the cover. I also thought this particular rendering fit the image I had of the character almost perfectly. The artist wanted to do the typography too, which—you get the deal you can, right? So the type is one weight lighter than I’d have used/preferred, but it works fine in a thumbnail.
For The Duchess’s Dress, I knew this would never be a huge seller, so I cobbled together a cover from bits I had and spent $0 on the cover. As Joel Friedlander said, “The elements are right, but they add up to a very weak ebook cover.” Which is fair. The formal symmetry takes away from the energy it might have had. On the other hand, it’s sold some copies (and I’ve made a profit), so that’s a win. It does more or less what it needs to do.
So here are some resources mentioned:

  1. AE Marling and I both referred to Deviant Art, which is a great place to find someone to do cover art for you (or adapt an existing work into a cover). I will say that one of the key problems in finding suitable art: most art isn’t structured well for a cover. It needs to have more headroom so the title can go above, or, alternatively, a less complex middle. You can also put the title at the bottom, but that’s often less effective. Regardless, a piece that’s designed to stand alone is often not going to be suitable for having a big blob o’ text over it.

  2. I referred to Deposit Photos, my preferred stock photo vendor. When I say “photo,” though, they don’t just sell photos. There are also some superb illustrations and renderings. (The problem is finding them.) If you are going to do a lot of covers, then having a plan is a great idea, and sometimes you can find discount plans available.

  3. Tony Todaro talked about using 99 Designs for book covers, and I talked a bit about the other side of the coin: designing covers for 99 Designs clients. More about that in this contest where I was a runner up. For 99 Designs, see also this post and comments and this post, especially the comments.

  4. Lousy Book Covers. Much as I like this site and its hate for bad book covers, I don’t think it’s actually particularly useful for someone who wants to make something better than what they have. With just a little bit more knowledge and/or care, many bad covers could be made to actually work. I’ve been meaning to get a more constructive site started, but the last few weeks have been horrible.

And here are some not mentioned:

  1. A lot of the lower-to-middle-end cover designers have pre-made covers. If that fits your taste/budget/design sense, then by all means consider them. Here are two: Patty Jensen, who does a lot of renderings; and Adrijus G., who specializes in action and adventure.

  2. Joel Friedlander has a monthly contest for people to submit their indie designed covers. Here’s last month’s. (I love the use of Borges Lettering’s Desire on Damon Za’s cover for Genevieve McKay’s The Opposite of Living).) Highly recommend reading this post series for a master class in book cover design. Even if you’re not a designer, it’ll help you commission better work. It’s also a great way to find indie cover designers.

The Hugo tug-of-war: Diversity of opinion among Worldcon voters

This panel went really well, and I’m glad that Kate Secor had some details that I hadn’t researched. Also thanks to James Stanley Daugherty for moderating and Amy Sterling Casil for her contributions.
My general feelings:

  1. Excluding the arguments about politics, there are other underlying points: certain houses are nominated—and not just for Hugo awards—more frequently, and certain popular authors are never nominated. I’ve looked at what I have been reading and realized that, over the last few years, I’ve been reading fewer books from Daw, Del Rey, and Baen. My personal commitment going forward is to read at least one first author per quarter from each major SF house, and two other books per quarter (all of the above from the current year’s catalog).
    Not everything popular is good enough, so I don’t think that it’s ever going to be the case that the most popular writers get nominated with any consistency. You’re far more likely to see a breakout book on the ballot.

  2. The more that is done at this year’s meeting to “fix” things, it will become an outrage escalator, and I believe that would be counterproductive long term. While I think the 4 of 6 proposal (and a couple of others) have merit, what I’d actually like to see is more people nominating. Specifically, more people who realize you can’t read the entire field, so nominate what you have read and what you think is worthy.

Nothing that “fixes” nominations will change the fact that there are far fewer nominators than members, and far fewer nominators than voters.

Categorizing Your Books: YA versus NA

First: I want to fangirl about being on a panel with Amber Benson. She’s marvelous.
NA, or New Adult, is a relatively recent category focusing on stories about people in the 18-25 age group. It is my catnip.
In addition to the target age group, I think one of the things New Adult appeals to are those people whose lives have had upheavals and suddenly they can start over. I was 37 and had been married five months when I found myself suddenly widowed. Over the next couple of years, I found that I didn’t relate to people who were my own age group. At that point, I could have gone anywhere, done anything, and had few constraints upon my life.
I found that who I most related to in that time were people who were 19 or 20, because I was having problems typical of that age group even though I wasn’t that age.
Probably because of that, I’ve never stopped bonding with fiction about the college era in people’s lives, when people leave the nest, go off and make some big mistakes (or fail to make big mistakes and regret not trying).
One book I mentioned is one of my favorites so far this year, Sarina Bowen’s The Shameless Hour. Somewhat spoilery discussion follows: Bella’s had a very hookup oriented shameless sex life, but she stays too long at a frat party and gets rufied. Thankfully, she doesn’t get raped, but the humiliation stunt and the infamy that follows really haunts her. This is a kind of book that really is NA and can’t be YA.
That said, I’m not convinced NA is as useful a marketing category in science fiction and fantasy as it is in other genres. I also made the point that a lot of NA heroes (and occasionally heroines) have far more real kinds of jobs than many other segments of the romance genre, though I will admit that a lot more of them are artistic or sporty.

Themed Reading: Erotic SF/F/H

Initially, I was signed up to be on the Death panel at the same time. Just three days before the panel, I realized that had changed, and I needed to scramble and figure out what to read. One scene from a book I’m writing (New Adult SF) I wasn’t yet happy with (and a lot of my sex scenes aren’t in speculative fiction genres). I haven’t been writing on this book over the last few weeks because it has been dark and I have been trying to keep it from going darker.
The other was a short humor draft with a bad pun ending, and that’s what I wound up reading. (Always read your first drafts in public, especially erotica. It’s humbling.)
It turns out that I went last, and after a really dark fantasy piece, so the comic relief was well-timed.

Afterward

I haven’t talked about why I was dragging myself around on Saturday, but I wound up having some acid reflux late Friday night, and given GERD being related to of my mom’s cascade failure, that led to some understandable nightmares last night.
I got about two hours of sleep all told.
So, I was really dragging and was trying to make a call between taking a nap before the 8:30 A Shot Rang Out and going home.
When I found out that no one had been collecting the silly lines we’re supposed to end our turns with, Rick and I both realized that neither of us had the spoons to take care of that ourselves. (I could possibly have done the panel if I could get three solid hours of sleep, but not if I had to get less.) So I went home and immediately went to bed at 5:30 in the afternoon. My last thought was, “I should email Berry,” aka the other panelist, but I didn’t even manage to reach for my iPad before I fell asleep. I was just that tired.
Anyhow, I’m sorry I missed what’s almost always my favorite event at BayCon, and doubly sorry I had to miss the 12:30 am “Eye of Argon” reading that’s such a tradition. In fact, I didn’t wake up until well after that reading started.

Filed Under: Conventions Tagged With: baycon, conventions, fantasy, science-fiction

My BayCon Schedule

May 20, 2015 by deirdre Leave a Comment

BayCon—san francisco bay area science fiction & fantasy convention
BayCon’s coming up this weekend, Friday through Sunday in Santa Clara, California. This year’s theme is Women of Wonder…and the people who love and appreciate them.
Normally BayCon is four days; this year it’s three due to a hotel snafu. The con starts earlier on Friday (10 am) than usual and runs late on Sunday, with the final formal event being Seanan McGuire’s concert at 8:15 pm.

BayCon Guests of Honor

Seanan McGuire, writer guest of honor
Stephanie Pui-Mun Law, artist guest of honor
Amber Benson, toastmaster
Caradwen “Sabre” Braskat-Arellanes, fan guest of honor
The Winner Twins, young adult special guests

My Friday Panels

Handicapped Characters (Alameda at 1:30 PM)

There’s a lot more ‘there’ there than the wheelchair! How do you do it right? How do you find out what life is like for someone with a particular problem? How do you handle the messy bits otherwise known as reality without turning the reader off? How do you show what other kinds of courage might be needed by a handicapped hero or heroine?

Invertebrates are Cool on Friday at 4:30 PM in Ballroom A

Jellyfishes. Octopuses. Cephalopods. Invertebrates can be unexpectedly beautiful, surprisingly smart, or just weirdly intriguing. Find out why these panelists think that they are just plain cool.

I may also put in a good word for nudibranchs.

My Saturday Panels

Book Covers That Sell Books (Bayshore at 10:00 AM)

When you’re browsing at a bookstore, why do you pick up a particular book? When you’re on Amazon, do some suggested books seem to jump out at you more than others? The saying goes “you can’t judge a book by its cover,” but when it comes to impulse buying, that’s exactly what people do. With self-publishing becoming more common, writers need to know more about an area they previously left in the publisher’s hands. How does one make a cover that will stand out when it’s shelved alongside other books? How can one tell if a thumbnail version of the cover will look good on Amazon? Do shoppers judge the quality of the book by the quality of its cover design? The panelists discuss the design elements of a good book cover, and where to go to for help in designing one that will sell.

The Hugo tug-of-war: Diversity of opinion among Worldcon voters (Camino Real at 11:30 AM)

This year’s Hugo nominations certainly have fandom talking. Is this just another periodic “all fandom is plunged into war” outbreak, or are there serious systemic issues to address?

Categorizing Your Books: YA versus NA on Saturday at 1:00 PM in Alameda

The Young Adult Library Services Association of the American Library Association defines a young adult (YA) as someone between the ages of 12 and 18. Authors and readers of YA novels traditionally defined the genre as literature written for ages ranging from 16 up to 25, while Teen Fiction is for the ages of 10 to 15. In 2009, a new category entered the mix: New Adult (or “NA”) for literature with protagonists with ages ranging from 18 to 25. Is NA here to stay? If it is, where does that leave YA and Teen Fiction?

I’m a huge fan of the New Adult genre, though it does have some pitfalls.
Themed Reading: Erotic SF/F/H on Saturday at 4:00 PM in Alameda

Hear authors read from stories that blend erotica with speculative fiction. For ages 18 and above only, please.

What it says on the tin.
A Shot Rang Out on Saturday at 8:30 PM in Alameda

…and bounced down the hallway, through the door, and out of the world. Come see hilarious, impromptu storytelling. Back as always by popular demand.

If the masquerade/variety show starts on time, then this is likely to start after the variety show ends.
(Note: I was originally also on one Sunday panel, but, given recent events, said I wanted to be taken off as I wasn’t feeling it.)
Hope to see you there.
If you’re going, what are you looking forward to? Full schedule can be found here.

My Next Convention

After BayCon, the next convention Rick and I will be attending is Westercon 68 in San Diego, California, July 2-5. I’ll be volunteering as site selection administrator for the 2017 Westercon.

Filed Under: Conventions Tagged With: bay area, bayarea, baycon, conventions, fantasy, science-fiction

Hugo Awards Voting Packet Now Available

May 18, 2015 by deirdre Leave a Comment

The Hugo Awards
The Hugo Awards voting packet is now available.
You’ll need your registration number and Hugo PIN in order to download the packet.
Haven’t yet registered? Here’s the registration page.

What’s in the Hugo Awards Voter’s Packet

The next two paragraphs are from the press release:

This free download is supplied by the creators and publishers of works that are nominated for the awards. It is free to all current Supporting, Attending and Young Adult members of Sasquan, and those who become members before 31 July 2015. Its purpose is to allow those who are voting on the Hugo Awards to be able to make an informed choice among the nominated works.
All of the short fiction and graphic novels are included in their entirety (((assuming Zombie Nation comes through!))). The packet contains the full text of three of the novels: The Dark between the Stars by Kevin J. Anderson, The Goblin Emperor by Katherine Addison, amd The Three Body Problem by Cixin Liu. Skin Game by Jim Butcher and Ancillary Sword by Ann Leckie are represented by extensive excerpts. One of the five finalists in the Related Work category is represented by an excerpt: Letters from Gardner, by Lou Antonelli. There is some material in each of the other categories except the Dramatic Presentations, but not everyone wanted us to include their work in this packet.

Filed Under: Conventions Tagged With: conventions, fantasy, hugo awards, hugos, science-fiction, world science fiction convention, worldcon

We're Skipping RT Booklovers Convention

May 12, 2015 by deirdre 3 Comments

RT Booklovers Convention header graphic
This was supposed to be my first year attending the RT Booklovers convention. I booked my membership and hotel early, Rick decided to come, and we booked our flights.
Naturally with my mother in the ICU, that has to come first. Rick volunteered to stay behind, but I know that I’d be constantly fretting if I’d missed a message, if I were needed for something. Plus, my mom would rather I stay, and that’s important.
Of course, I’m sad to miss RT Booklovers.
I’ve read a few of the winning or nominated books, but there are oh so many I haven’t read, too.

RT Booklovers Convention: Crowdsourcing the Fun

If you’re going to RT Booklovers, I’d love to hear about or see:

  1. A fun moment you had at the convention.
  2. A new book you’re excited about (in any romance/romantic elements genre).
  3. Fun times you had meeting an author.
  4. Or, if you’re an author, your best fan story from the convention.
  5. Selfies!
  6. Convention reports and links to same.
  7. Which of the award winners was your personal favorite? Were any of the acceptance speeches particularly funny or good?

You don’t have to know me—if you go, I’d love to hear something fun. It’s also totally okay to share this post with others.

Filed Under: Conventions Tagged With: conventions, romance, rt booklovers

Getting Past the Attack Narrative

May 1, 2015 by deirdre 17 Comments

Getting Past the Attack Narrative
When does something become an “attack” online?
Serious question.
Let’s say that two people, Jane and Cait, are both authors.
Jane says something that involves Cait, only she uses a word incorrectly. Cait responds that, hey, that word used that way and applied to me in that context is offensive. And Cait’s right.
Why is Cait then accused of “attacking” Jane?
After all, these are words, the tools of both of their craft. Is not their increased understanding of them in both of their interests?
Wouldn’t one typically expect Jane to apologize for using a word incorrectly and hurting Cait’s feelings by doing so?

A More Complex Example

Let’s take a more complex variant of the above.
Sarah hears Jane say something that involves Cait, using a word incorrectly. Sarah understands it to mean the common meaning of the word. She writes about it, but doesn’t name Jane.
Ken reads Sarah’s comment, then says something about it where Cait hears. Cait responds that, hey, that word used that way and applied to me in that context is offensive. And Cait’s right.
Then Sarah says I wrote that, and the person who said it is Jane. While Sarah misunderstood part of what happened, what she did not misunderstand was the word.
And there’s a huge pile-on, in the middle of which Jane reveals that she hadn’t used the word the way Sarah, Cait, and Ken understood it to be used (i.e., the way it is commonly used), and that Jane was using the word in a non-standard way.

  • Ken apologizes.
  • Cait apologizes.
  • Sarah apologizes.
  • While Jane accepts all of their apologies, she does not herself apologize.

Yet, were it not for what Jane said, and others’ over-reading of the intended meaning because of Jane’s misuse of the word, none of this would have happened.
Substitute names as appropriate, and you have the skeletal structure of what happened 1-2 days ago.

Abusing the Word “Attack”

When you use the word “attack,” you absolve yourself and the people you see as your allies of apologizing or behaving well.
I’m considering removing anyone who uses the word in a non-physical sense from all my social media. I’ve been guilty of this in the past, too, and I know it’s a hard habit to break.
Instead, try to consider what actually happened in that moment without characterizing it, either to yourself or to others, as an attack.

Criticizing Content Is Not Criticizing the Speaker

Often I see “attack” used for criticizing the content of what someone said as opposed to criticizing the person.
I totally get how it can be hard to separate the two, especially when it happens to you. Been there, made that mistake. However, it’s one I’d expect writers to be, on average, less likely to make given the prevalence of Clarion-style critiquing.

Us vs. Them

I incorporate by reference this brilliant post from Jim C. Hines.
If I have information that will clarify a situation, regardless of whether or not I like the person it helps and also regardless of what it will cost me in so-called friends, I will bring it up. Principles before personalities. (Am I perfect at this? No, of course not. I also don’t seek things out, so I can and do miss such opportunities.)
Also, if I’m in contact with you, there is something I admire about you. I’ve been friendly with very contradictory sets of people, and I’m able to accept that everyone’s a mix of good and bad—and hold that complexity in my head.
If you’re one of my contacts, I don’t expect you to like everyone else. I don’t expect you to understand what I see in other people.

Connotation of Unprovoked

“Attack” used this way also carries the connotation of “unprovoked.”
If, instead, we look at the events above as a misunderstanding and clarification, rather than an “attack,” we can learn from it.
You know, build a community rather than destroy it.
Just a thought.

The Header Image Background

The header image background is a photo I took of the battering surface of an M60 Patton tank. It seemed an appropriate choice.

Filed Under: Important Things Tagged With: apologies, conventions, friends

My Comment Goes Viral, Escalates, and I Apologize

April 30, 2015 by deirdre 9 Comments

an apology
tl;dr: A comment I made 2-1/2 weeks ago got tweeted, escalated, and lots of feelings were hurt. As two people have made statements about my motiviations, this post is about context from my perspective as well as apologies for my part.

Backstory, Before Eastercon 2015

  1. If you’d asked me who Kari Sperring was, I’d have said a British fantasy writer. I believe we’ve commented in the same posts at times on LiveJournal. We’d never met face-to-face that I can recall.
  2. I’d never personally spoken with (or tweeted with or emailed, etc.) Benjanun Sriduangkaew. It’s possible that we’ve engaged in the same LiveJournal comment threads over the years, but I don’t specifically recall any.
  3. I was unaware that Ms. Sperring and Ms. Sriduangkaew had any history, partly because I’ve mostly been off LiveJournal since before the period when that happened.

Eastercon, Saturday, April 4, 2015

After the Hugo Awards nominations were announced (Eastercon was one of the announcing conventions), I got a lift back to my hotel, then wrote The Puppy-Free Hugo Award Voter’s Guide. By the time I woke up on the 5th, it had received about two thousand hits.

Eastercon, Sunday, April 5, 2015

I heard on Twitter that there was going to be a panel on the Sad Puppies and they were assembling people for that panel, so I asked in program ops if I could be on the panel.
For context: I first worked convention programming for ConJosé, the 2002 Worldcon, where I was staff for the late Kathryn Daugherty. I was her programming 2nd for the following year’s BayCon, then went on to be the programming head for BayCon for two years. Since then, I’ve worked as programming staff (of various kinds) at the local, regional (Westercon), and Worldcon level, most recently as co-head of programming for last year’s Westercon in Salt Lake City.
I say this so that you will know that I very much know what it’s like to be a) the person who makes the decisions about panels, and b) the person who has to deliver news to people, and c) the minion who is neither the bearer or decider of news.
I was fine with any answer as to whether or not I could be on the panel. I did not try to push my way onto the panel, nor is it sour grapes, and I am not sore about not getting onto the panel. I have no sense of entitlement about these things. I thought I had interesting things to say, but, hey, I also have a blog.
When I arrived in program ops Sunday afternoon, I was asked if I wanted to wait or come back. What you may not know if you’re new here: I’m mobility impaired (I need two knee replacements and have severe arthritis of the lower spine), and suffer from both debilitating fibromyalgia and myofascial pain. My pain is worst when I’ve either a) slept poorly, or b) am jetlagged—and I’d taken a ten-hour flight to get to the con. I was in miserable shape, so I decided to stay because walking anywhere would hurt. I worked for a while in the room, talked a bit with someone about the Ellora’s Cave situation (and found a new Loose Id author to read), and then Rick and Mike Willmoth showed up and we went to dinner. I was told by program ops staff to check back before the panel.
Which I did. As the panel time approached, I had actually left program ops, then I was asked to return to be told that no, the panel was going to focus on how the current Hugo situation affected the British professional scene. I thanked the programming person. Paraphrase of what I said: “Panels have a point of view, and it’s clear the one you’ve chosen isn’t one I’d be a fit for, and I’m fine with that.” He double-checked with me and I assured him that I was.
But it’s worth noting that I didn’t have any answer until about exactly when the panel was starting.
Then I went to the panel, which had already started, and Rick gave up his seat for me and stood with the SRO part of the crowd.
I did not livetweet during the panel (which I had the night before; the Hugo Award nominees were announced in the same room) because I was running low on power on all my devices.

The Fanfic Moment

And now we get to the moment that went viral.
Specifically, what went viral yesterday was reaction to this comment I made on April 13th:

Where things begin to bug me is the amount of toxicity currently being directed at Bee, such as the awkwardly uncomfortable part of the Sad Puppies panel at Eastercon, where it was suggested that someone write Vox Day/Requires Hate slash.

Here is the only account I have found tweeted during the panel:

Sperring: Vox Day fan of Requires Hate. Oh the irony (sensed hint of slight sarcasm) #SadPuppiesPanel

— James Worrad (@jimworrad) April 5, 2015


You’ll note they are very different, and one of the reasons I delayed writing this post until this morning after things blew up late last night was that Rick had already gone to sleep and I wanted to ask his memory of what was said before writing this post. Not because I disbelieve Ms. Sperring’s account (which I’ll get to in a minute), but because I know for a fact that what I mean to say and what I actually say aren’t always the same thing. Plus, my own memory is not infallible.
The two phrases that specifically stuck with me are: “Vox Day Requires Hate slash” and “Give it to me, Voxy!” [edited to add note: the latter phrase is not in the same context, see James Worrad’s comment below] and the subject matter was Vox Day being a fan of Requires Hate. I somehow missed that this was an already written fic. Ms. Sperring says the content was entirely non-sexual, and I have no reason to disbelieve her, but she did use the word “slash” and that does imply relationship and/or sexual content in fic (my interpretation at the time was that it was at least suggestive, if not actually sexual). I’m a fanfic writer, though, and I am used to more concise terms.
I can understand why Ms. Sriduankaew, who is a lesbian, would see sexualized fiction of her and Vox Day to be rape fic, and I have to admit that I hadn’t really thought that far ahead in part because I didn’t think the “slash” in question existed yet.
To be clear, I never assumed that Ms. Sperring was/would be the writer of said fic. I’m thankful that Ms. Sperring, Ms. Sriduankaew, and I agree that rape fic isn’t something we’d write, and something we agree is appalling.

Things Escalated Yesterday

The short version:

  1. Shaun Duke, who has already apologized for his part in this, escalated my comment, where Ms. Sriduankaew saw it. At that point, Ms. Sriduankaew had no idea either a) where the comment originated (me), or b) who the speaker I referred to was.
  2. I didn’t actually know for certain it was Ms. Sperring who made the comment until yesterday when I was contacted by the Dysprosium chair (!) about the backstory behind my comment. I said to Rick, “I don’t actually know that it was Kari Sperring who made the comment.”
    Rick replied, “I do.”
    It was only then that I knew.
  3. It turns out Shaun contacted the Dysprosium chair, suggested that she contact me, referred her to my comment, but did not specify what action he thought should be taken.
  4. I also did not specify what action I thought should be taken, nor was I asked. I think the incident was, to be as charitable as possible, a tacky off-topic blip in what was a discussion about a hot topic.
  5. By the time I looked at Twitter after responding to the chair’s inquiry, I’d realized the issue had already spilled over there. This is the tweet where I reply to Ms. Sriduangkaew’s inquiry.

It doesn’t fit popular theories about Ms. Sriduangkaew abusing others, I know, but the actual fact is that neither I nor she knew until yesterday. Neither I nor Ms. Sriduangkaew started this escalation; Shaun did. Otherwise, it’d have been an obscure footnote on a post.

@shaunduke I don't know what I can say further, to be honest. I've never met Deirdre so I don't know anything about how she may think.

— Kari Sperring (@KariSperring) April 30, 2015

So, thank you, USians who do not know me, for your judgments. I hope you are never similarly judged by strangers.

— Kari Sperring (@KariSperring) April 30, 2015


It would be nice to be extended the same courtesy about my motivations.

My Apology to Kari Sperring

  1. I apologize for unintentionally misrepresenting that this was a yet-to-be-written fic.
  2. I apologize for failing to consider that “slash” did not mean the same thing to Ms. Sperring as it did to both myself and Benjanun Sriduangkaew (fka Requires Hate).
  3. I apologize for not reaching out to find out what Ms. Sperring meant before I commented.

My Apology to Benjanun Sriduankaew

This was a comment I made on my blog, and you should not have heard it from someone else first.

See Also

This post on Asymptotic Binary, as it covers the timeline differently.
Edited to add: I used Ms. Sperring and asymbina’s post pointed out something I had not known (having missed the panelist introductions): she’s Dr. Sperring. I mean no disrespect by referring to her as Ms. Sperring. My usage comes from my father, a Ph.D. in Particle Physics from Cal Tech, who took his usage from Richard Feynman after teaching Feynman’s course on Physics to freshmen when my dad was a graduate student. Mr. Feynman did not like people using Dr. as a title.

I Get Mail

letter-from-lizw
Liz, you are an astonishingly loyal friend, and that can be a very good trait to have. I’m sad that you think so little of me that you sent this without asking me what happened, especially given your email to me on March 5th containing this line:
letter-from-lizw-2
In fact, I actually didn’t expect any notice of any kind when I wrote the pieces on Marion Zimmer Bradley last year. I rather expected to be ousted from quite a few circles, frankly.
First, I forgive your outburst, and I’m sorry for my part of what clearly led to your stress.
You know what, though? I helped Marion Zimmer Bradley’s daughter, Moira Greyland, stop being afraid of her own shadow after being molested by her mother. I gave her a place to have a voice, to speak publicly for the first time, for both her and I to help people speak out on an important topic—and that is worth more than a trophy any time.

Filed Under: Around the Blog, Important Things Tagged With: apologies, conventions, eastercon, hugo awards, hugos, requires-hate

Hugo Awards: Eric Flint Speaks, and Final Nomination Changes

April 17, 2015 by deirdre 10 Comments

The Hugo Awards
Summary of what’s in this post: the final Hugo Awards nomination changes, a discussion of a great post about the Hugo Awards from Baen author Eric Flint, and a constructive suggestion to those who, like the puppy sympathists, feel their own favorite works are being left out of the big table. And, at the end, I have a suggestion.

Final Hugo Awards Nomination Changes

I’ve updated the Puppy-Free Hugo Award Voter’s Guide to reflect the changes in the Hugo Awards nominations after two nominations were declared ineligible and after two nominees withdrew their works. The tl;dr version: Puppy-free works have been added in Best Novel (The Three-Body Problem by Cixin Liu, translated by Ken Liu) and Best Novelette (“The Day The World Turned Upside Down” by Thomas Olde Heuvelt, translated by Lia Belt). Congratulations to all the new nominees, and condoliolations (congratulations on having been nominated, condolences for the situation leading to no longer being on the ballot) to those who withdrew or were declared ineligible.
I’m especially jazzed about having two works originally published in other languages on the ballot, as literature in translation is so frequently overlooked.
As noted in the File 770 piece, Hugo Award administrator John Lorentz has locked the ballot, and no further changes will be made. (There were also a couple of technical corrections on the final announcement.)

Eric Flint’s Piece

Eric Flint has his own “I can tell this was written by a novelist” piece on his blog.

I’ve been doing my best to stay away from the current ruckus over the Hugo Awards, but it’s now spread widely enough that it’s spilled onto my Facebook page, and it’s bound to splatter on me elsewhere as well. It’s also been brought to my attention that Breitbart’s very well-trafficked web site—never famous for the accuracy of its so-called “reporting”—has me listed as one of the supposedly downtrodden conservative and/or libertarian authors oppressed by the SF establishment. Given my lifelong advocacy of socialism—and I was no armchair Marxist either, but committed twenty-five years of my life to being an activist in the industrial trade unions—I find that quite amusing.

Flint discusses at length the paucity of awards for Murray Leinster and Andre Norton in particular, then lists several other writers’ nomination and win counts.

What has become equally obvious, to anyone willing to look at the situation objectively, is that a third of a century later the situation has become transformed. Today, there are is only one author left who can regularly maintain the bridge between popular appeal and critical acclaim. That author is Neil Gaiman. And there are no more than a handful of others who can manage it on occasion. Perhaps the most prominent in that small group are Lois McMaster Bujold, Ursula LeGuin and George R.R. Martin.
Once you get beyond that very small number of authors, the field diverges rapidly. That handful aside, there is no longer any great overlap between those fantasy and science fiction authors whom the mass audience considers the field’s most important writers—judging by sales, at any rate—and those who are acclaimed by the small groups of people who hand out awards.

Exactly so, though I’d argue that LeGuin is perhaps less famous with mainstream, but more famous in literary circles. When I was an undergrad, I was told I couldn’t write science fiction or fantasy and work with writing faculty unless I wanted “to write like Ursula LeGuin.” I declined (because I want to write like myself, not LeGuin) and worked with a science faculty member who was an sf/f reader. (The program, then a part of Vermont College, required a faculty sponsor for the semester, but none of the writing faculty were willing to sponsor anyone writing any form of popular fiction.)
Anyone who writes genre fiction and wanted to seriously pursue a writing degree has, no doubt, run into some form of the above at some point.

Any author—or publisher, or editor—who gets widely associated with a political viewpoint that generates a lot of passion will inevitably suffer a loss of attractiveness when it comes to getting nominated for awards—or just reader reviews. Somebody is bound to get angry at you and denigrate your work, and often enough urge others to do the same.
Does it happen to people who are strongly associated with the right? Yes, it does. But it also happens to people who are strongly associated in the public mind with the left. If you don’t believe me, all you have to do is read through Amazon reader reviews of my work and see how many “reviews” are obviously triggered off by someone’s outrage/indignation/umbrage at what they perceive as my political viewpoint and have little if anything to do with the book which is theoretically being “reviewed.”
Nor does it matter very much whether the assessment people have is accurate or not. To give an example which is germane to this issue, there is a wide perception among many people in fandom—the average reader-on-the-street could care less—that Baen Books is a slavering rightwing publisher. And never mind the inconvenient fact that the author who has had more books published through Baen Books than any other over the past twenty years is…
(roll of drums)
Me.
Who is today and has been throughout his adult life an avowed socialist (as well as an atheist), and hasn’t changed his basic opinions one whit.

I’m also unhappy with the reduction of Baen to only publishing right-wing (and various other tropes) authors because I’m also a Baen author. I’m not as universally liberal as you might think, and I’ve in fact been a libertarian (both big-L and not) in the past. My religious affiliation could be best described as “Agnostic Pagan,” specifically Druidism.

Yes, it’s true that Larry Correia and John Ringo are pretty far to the right on the political spectrum and they don’t get nominated for major awards despite being very popular.
You know what else is true?
I’m very popular and further to the left on the political spectrum than they are to the right—and I never get nominated either. Mercedes Lackey isn’t as far left as I am, but she’s pretty damn far to the left and even more popular than I am—or Larry Correia, or John Ringo—and she doesn’t get nominated either.
The popular fantasy author Steven Brust, like me, is what most people call a “Trotskyist.” In a career that has now lasted thirty years, he’s picked up one Nebula nomination. On the other hand, China Miéville—another so-called Trotskyist—has gotten around a dozen nominations and won both a Hugo and a World Fantasy Award.
On the other side of the political spectrum, Mike Resnick has gotten more Hugo nominations than just about any author in the history of science fiction—he’s won five times, too—and he’s a Republican. A sometimes loud and vociferous Republican, as I can attest because he’s a friend of mine and we’ve been known to argue about politics. Loudly and vociferously.
The fact is, there is no correlation I can see between an author’s political views and the frequency (or complete lack thereof) with which he or she gets nominated for SF literary awards. The claim of the Sad Puppies faction that so-called “social justice warriors” are systematically discriminating against them is specious. It can only be advanced by cherry-picking examples and studiously ignoring all the ones that contradict the thesis, of which there are a multitude.

Exactly so. Resnick was also an editor of mine. I’ve had some great conversations with him over the years.

I believe there are three major factors involved that account for the ever-widening gap between the judgment of the mass audience and that of the (comparatively tiny) inner circles of SFdom who hand out awards. Of the three, two of them are objective in nature, which is what makes the problem so intractable. And all three of them tend to constantly reinforce each other.
The first objective factor is about as simple as gets. The field is simply too damn BIG, nowadays. For all the constant whining you hear from lots of authors about how tough things are today for working writers—which is true enough, in and of itself—the fact is that the situation is a lot better than it used to be. Half a century ago, I doubt if there were more than a dozen F&SF writers able to make a full-time living at it, and most of them were not making a very good living. Today, with a North American population no more than twice the size it was then, I figure there are somewhere around a hundred F&SF authors able to work at it full time, and at least a third of them are earning more than the median annual income. Even in per capita terms, that’s a big improvement.

Back in the old days, many of the most popular authors had a number of pseudonyms. Mike Resnick has a Rolodex full of pseudonyms. Not a joke or exaggeration. So in the old days, there was a different kind of problem: you’d like six authors, but they’d all be the same person.

The second objective problem is that due to massive changes in the market for F&SF—changes so massive that they amount to a complete transformation of the field over the past several decades—the structure of the major awards no longer bears any relationship to the real world in which professional authors live and work. That’s especially true for those authors who are able to work on a full-time basis and who depend on their writing income for a living. Award-voters and reviewers and critics can afford to blithely ignore the realities of the market, but they can’t.
Both the Hugo and the Nebula give out four literary awards. (I’m not including here the more recent dramatic awards, just the purely literary categories.) Those awards are given for best short story, best novelette, best novella, and best novel. In other words, three out of four awards—75% of the total—are given for short fiction.
Forty or fifty years ago, that made perfect sense. It was an accurate reflection of the reality of the field for working authors. F&SF in those days was primarily a short form genre, whether you measured that in terms of income generated or number of readers.
But that is no longer true. Today, F&SF is overwhelmingly a novel market. Short fiction doesn’t generate more than 1% or 2% of all income for writers. And even measured in terms of readership, short fiction doesn’t account for more than 5% of the market.
Don’t believe me? Then consider this: I have published at least half a dozen novels each of which has sold more copies than the combined circulation of all science fiction and fantasy magazines in the United States—and I am by no means the most popular author in our field.

Romantic Times gives out an absolutely dizzying number of awards each year. Here are this year’s winners. Note that quite a few of those are publisher specific. Romance is an even more overwhelmingly novel-oriented market than science fiction or fantasy are.
To give you an idea of how large that field is, I read 150 romance books last year, mostly ones published last year. I’ve only read one of the books on the list. I’ve read twelve of the authors, though most of those have been published in sf/f.
Also, I disagree with the point he then follows up with about the novel length for the Hugo being wrong. Up until 2010, I’d have agreed with him. However, with the rise of digital first publishing, many more short novels are being written than used to be. It hasn’t picked up as much in science fiction and fantasy as it has in romance—in part because it began earlier in romance with a greater number of digital-first publishers and the popularity of “category length” (read: shorter) books—but I believe that is just a matter of time.
While there are romance series, most of them are a completely different style than is popular in sf/f: the protagonists of book 1 become side characters in book 2, and vice-versa.

Is there any solution to the problem?

Well, freeping the Hugos doesn’t fix the problem, it just vastly increases the number of people who are unhappy.

In addition to being an author, I also do a lot of editing of old science fiction stories. I’ve produced by now something like three dozen anthologies of stories written mostly in the fifties, sixties and early seventies. And I can state flatly that the average level of fiction written in our field today is far higher than it was half a century ago. As fond as I am of the fiction I grew up on, the simple fact is that most of those authors couldn’t get published today.
It’s not just a matter of prose, either. Just about everything in those days was crude, compared to the situation today.
The science in “science fiction” was often abysmal, especially the biology. Edgar Rice Burroughs was by no means the only author who told stories in which humans mate with aliens and produce offspring. Thereby demonstrating a grasp of biology stuck somewhere in the late eighteenth or early nineteenth centuries.
The settings were typically crude, too, compared to the settings of most stories today. So were the plots. There were exceptions, to be sure—and, not surprisingly, those tended to be the most popular authors.
My point is simply that there is no rational basis for thinking that the literary sophistication of the mass audience for F&SF today is any worse than it was some decades ago, and plenty of reason to think that it’s actually superior.

I agree.

Why the Quality Shift

The quality shift was a concerted effort on behalf of people like Robin Scott Wilson, who created the Clarion Writers’ Workshop in the 1960s to help improve the quality of writing in the field. These days, there are quite a few similar workshops open by audition:

  1. Clarion in San Diego (6 weeks)
  2. Clarion West in Seattle (6 weeks)
  3. Odyssey in New Hampshire (6 weeks)
  4. Viable Paradise in Martha’s Vineyard (1 week)
  5. Milford in Wales

There are, finally, also programs in writing popular fiction, including MFA degrees from both Seton Hill and the University of Southern Maine.
Knight also founded SFWA, and part of the intention of the Nebula Awards was to focus on works on literary quality (as distinct from popularity). Yet, over time, the Nebula Award and Hugo Awards nomination lists seem to be (this is a perception that I have not analyzed, to be clear) closer rather than farther apart.
Over time, Clarion has produced (let’s say 15 people average per year x 40+ years) over 600 graduates, and many of those vote or nominate. Or hold (or have held) editorial positions at some point. When you add in the members of the other groups, too, this represents a significant influence on science fiction and fantasy books and short stories.
Yet, as a counter-example, a couple of years before I attended Clarion, Gordon van Gelder was the editor-in-residence. He handed the class his slush pile, and said, “which one of these would I buy?”
The class read the stories and argued with each other and had it narrowed down to a list of five candidates. Gordon said, basically, that it was none of them. He pointed to a story by a far more famous writer and said (paraphrase), “I’d buy this one, so I could put his name in big letters on the cover and sell the magazine.”
The sword definitely cuts more than one way. As Gardner Dozois put it, people become publishable before they start selling.

A Modest Proposal

Here’s my proposal: someone (not me) should start a workshop designed for people who want to write the popular end of science fiction and fantasy, and possibly aimed at people who wish to write sf/f books (the existing workshops are mostly about short-story writing). Yes, I know that Viable Paradise is about that, but the field is certainly big enough for two such workshops.
Not only that, it could be one that valued humor more than Clarion et al tend to. (You know what’s harder than writing humorous work? Critiquing it. Harder yet is understanding how to use the critiques.)
Make it six weeks long, have authors bring complete novel drafts, and workshop the whole draft in six chunks.
Don’t make it depend on ideology, make it depend on wanting to write stronger works of popular fiction.
This would be a great place to form relationships with other, similar writers, to build interrelationships within the field (as happens with Clarion et al), and doesn’t have the problematic relationship with the Church of Scientology that Writers of the Future does.
You’re only 47 years behind.

Filed Under: Conventions Tagged With: conventions, hugo awards, hugos, world science fiction convention, worldcon

Is There a Statute of Limitations for Being an Ass on the Internet?

April 13, 2015 by deirdre 32 Comments

Nepalese Sadhu man • Requires Hate, Hugo Awards, and Laura J. Mixon's nomination for Best Fan Writer

Nepalese Sādhu man in Kathmandu. Photo by dibrova


Note: the front half of this post was originally going to be separate from my post about the Best Fan Writer Hugo Award. Rick pointed out that the light opening could be seen as minimizing the subject, which was not my intent.
Is There a Statute of Limitations for Being an Ass on the Internet? (Or: Why I’m voting No Award first on the Hugo Award for Best Fan Writer this year.)
Asking for a friend.
(That was a joke.)
Well, it both is and it isn’t, because I’ll bet those people who’ve known me for five-ten-twenty-more years remembered something of their own to wince about.

One of the Problems of the Internet

One of the special problems of the internet is that everything that’s a still-valid web page appears to be happening now. Save for obviously “ZOMG, how 90s” pages that call attention by their dated look and sixteen web-safe colors, things feel like they’re happening now, even when they’re not.
Sure, there are contextual clues in many pages—dates, technology choices, etc.
I’m not sure that changes the emotional weight of something feeling fresh and new, though.
Not long after I wrote my Laura J. Mixon piece on Requires Hate, I had a little nagging in my ear:
When did this happen?
Followed by questions like: am I punching down by signal boosting? Why didn’t I see what writers of color were saying about it before jumping on it?
By the time I returned to the land of real internet (instead of catching slight breezes of it in St. Vincent and the Grenadines), the initial furor had died down. I did read another piece (now gone) that made me think.
I didn’t do anything until February 8, when I added the update to the end. Almost a month later, I wrote this post. and got into several conversations about it, and updated that post accordingly.

Then the Hugo Award Nominees Were Announced

…after George R. R. Martin signal boosted that Laura J. Mixon should get the fan writer nomination, she does. Further, she’s the only fan writer standing after you take away the puppy slates’ nominees.
By the time the nominations were announced, I pretty much knew how I felt, though I didn’t really have a sense of how the actual nominations would unfold.

My Own Organizing Principles

These are some of my organizing principles, and it’s impossible to really discuss how I feel about Mixon’s post without them.

  1. I value people trying to live less hateful lives.
  2. I believe that people change for their own reasons, on their own time schedules. Which may be never.
  3. Not everyone will change for the better, and your definition (or mine) of “better” may be wrong.
  4. It’s not necessary (or even desirable) to forgive everyone who’s harmed you. It’s one’s own judgment whether that should happen.
  5. I believe shunning is evil, where shunning is defined as person A trying to encourage person B not to communicate with person C else sanctions will occur. I belonged to a cult that did shunning (Scientology) and I’m over it. Hence, I still have friends who dislike each other. Vehemently.

I’m not asking that my guiding principles be yours, but: I really believe in redemption and/or self-improvement.
I read this long piece from Abigail Nussbaum and I’m concurring—in the legal sense, meaning: I agree with her decision to rank Laura J. Mixon below No Award—but I disagree with Nussbaum’s reasons.
First, there is no question in my mind that Requires Hate/Benjanun Sriduangkaew’s behavior years ago was reprehensible. She agrees.
Second, there’s an obvious conflict of interest here: I was also eligible for best fan writer. One of the things I had to decide was whether or not I was going to nominate Mixon. In the end, I did not. So, regardless of how the nominations wound up, I’d made that choice before the nominee outcome was known.

Voting No Award for the Hugo Award for Best Fan Writer

My reasons, let me how you them.

  1. The events Mixon’s post mentions were, essentially, 3-10 years ago. Had they been contemporary, I’d have felt they were more relevant.
  2. Mixon’s post happened after Sriduangkaew started to get recognition and after Mamatas outed her.
  3. I disagree with Nussbaum that the topic isn’t sufficiently fannish.
  4. I agree that I think fan writer should be about a body of work and not a single post (says the person who got a quarter million hits for the best-known of my own posts last year). For a single post, Best Related Work is more relevant (as Kameron Hurley won for her “We Have Always Fought” piece).

Much of this information was available for years and only came to be posted because it affected a new writer’s career.
You know, the writing career that Sriduangkaew was now focusing on instead of harassing people.

Statute of Limitations

Most of us are never going to live the lives of a Sādhu, and I’m sure even they have moments they’re less than proud of. It’s entirely possible that some people become Sādhu because they’d done things far worse than you or I have.
The Internet allows us to hold onto hate longer and spread it farther, and that’s not always a good thing.
I don’t have an answer for what the statute of limitations should be for being an ass on the Internet. I’ll just say that the base federal (US) sentencing guidelines for involuntary manslaughter are 10-16 months.
For killing someone. (Not intentionally, obviously.)
Maybe we ought to think about this three-to-ten year thing.

No, this Does Not Mean

…that people who were harmed by Requires Hate / Winterfox should “get over it.” You have a right to feel however you feel.
I just question lowering the boom so long after the situation had changed so significantly.
Some may question: well, if that’s too late, what about Marion Zimmer Bradley?
I’ve heard no evidence that, at any point in her life, MZB felt any remorse about the part she took in raping children and allowing children to be raped (by her husband). Her only care was separating from him to reduce her financial liability. Also, half of that story (her as perp) had never been told until I broke it last year. Plus she’s dead, so it won’t affect her career, though it’s probably affected her heir and co-authors.

Nussbaum Nails How I Feel

In a later comment, Abigail Nussbaum added this, and it reflects my feelings:

My problem is with what the zeal of that exposure reveals about our community, and with the message that I think is sent by rewarding it. You and I obviously disagree about what that message is, and you may be right, but let me be clear again that we do not disagree about the harm that Sriduangkaew has caused.

Got Comments?

Respectful comments welcome. Legal threats, well, I’m in California and we have amazingly powerful anti-SLAPP laws here. (I mention this because of this comment on Abigail Nussbaum’s piece.)

Filed Under: Conventions Tagged With: conventions, fantasy, hugo awards, hugos, requires-hate, science-fiction, world science fiction convention, worldcon

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