Worldcon Wayback Machine: Sunday at ConFrancisco (1993) Day 4

1993 Hugo base designed by Arlin Robbins. Photo by Sheila Perry.

Worldcon Wayback Machine Introduction: Thirty years ago this weekend ConFrancisco, the 1993 World Science Fiction Convention, was held in San Francisco, California. I thought it would fun to compile a day-by-day recreation drawing on the report I ran in File 770, Evelyn Leeper’s con report on Fanac.org (used with permission), and the contributions of others. Here is the fourth daily installment.

The Worldcon was held in the Moscone Convention Center, ANA Hotel, Parc Fifty Five, and Nikko Hotel.


Fans woke up Sunday morning and reached for a copy of the daily newzine to find out what they’d done the night before.

[Kurt Baty & Scott Bobo] Saturday Night Party Roundup. (Excerpted from The Norton Reader #8) Round 3! And we were greeted in the San Antonio in 97 suite by a Brad Foster party announcement drawn on erasable(!) board; we thought this primo in party decor.

Our now sizable entourage trooped to the top o’ the Parc to bridge the Bridge Publications party, where we watched Wanna the temple slave dance teasingly before the heroic proportions of the costume Battlefield Earth cutout. She was a hall costume winner and celebrating.

Now in a prehistoric mood, we entered the a WesterCon’94/95 suite and admired the in-progress Crayola crayon wall mural a la early “Con”ozoic.

In Atlanta in 98 we found a punch packed with peach, both with and without C2,H3OH (as they put it). Now in a jolly roger mood, we decided to pirate some rum and Coke from the friendly Baltimore in ’98 crew. Yo-he-ho.

Fans must have been hungry last night, as St. Louis in ‘97 set out a new set of bittersweet, milk and white chocolate bars (has it been 60 pounds already? Watch those hips! Morning aerobics, anyone?) Healthniks who were able to look beyond the chocolate agreed their veggie platter balanced the caloric orgy.

We backtracked to the Winnipeg/Glasgow Presidential suite for a fabulous blowout. Our fave fish cheeks chef, Hans Schweitzer (he’s all the rage now, you know, and a veritable fixture at WorldCons) sauteed cheeks (fish) for us. We consequently awarded him one of our Bheer pins for his chef’s sash. We satisfied our thirst with Glasgow’s inimitable and very Smooooth whiskeys.

We discovered smoked buffalo in the Coenobium party at Sophie’s urging. It was totally bison – and that’s no beef. We chilled out at the Cryonics party while discussing whole-body vs. head options. Really. Frankly, we’re partial to feet when it comes to party-hopping. Fetish, anyone?

The Space Access group gave us some space to breathe while we took a moment to catch our breath (great videos later – ed). In Norway (the party) we tested the varieties of aquavit (both above and below the equator) and were assured that a real Norweigan can tell the difference. Ja, sure.

Our Russian friends had their first beer (root, that is) in the Arisia suite. They decided they prefer the real thing, although we’re partial to A&W.

By this time, we had worked up a sweat so were delighted to discover the Sno-Cone machine in the Silicon party festooned with blue and orange crepe paper and balloons. What party review would be complete without a mention of the Con Suite? They were holding their own at 11:50, largely because of the spillover from the masquerade and the upbound fan jam (and the “Ice Cream of the Future” was pretty weird, too – ed).

We wandered overto the midnight Cult seance, but the only spirits we saw being raised were alcoholic. Going back to the top o’ the Parc, we returned to San Antonio (the suite) to hear that “some varmints had rustled the cacti!” Marshal Lisa later apprehended the desperados. We intend to give her a medal (Bheer!) for valor in defense of parties.

By 2:30, the AussieCon bid party was still strong; we took a moment to admire their edible monster table decoration. Amazing what can be done with a cantaloupe…and a little wax. Norway and Australia both performed admirably, but we decided to award the now well-experienced hosts of Winnipeg/Glasgow the Saturday “Party of the Night” Award. (Polite applause, please.)  

[Mike Glyer] Panel: Smoke-Filled Back Room. (Sunday 10:00 a.m.) [Panelists:] Arlan Andrews, Ben Bova, jan howard finder, Steve Gillett, Mike Glyer, Hugh Gregory, Bradford Lyau, Richard Lynch, Charles Sheffield] [Topic:] “Our Honored Guest jan howard finder presents his shadow cabinet as a presidential “candidate” who is pro-space. WOMBAT For President!”

jam howard finder

Among the GoH program items was a panel moderated by jan howard finder, who took the role of a presidential candidate surrounded by a cabinet composed of pros and fans called to answer the question: “What would be your initial program to get the country moving in the right direction which involves the space program and space?” His romantic call for renewed space exploration came paired with a practical understanding that voters would need to be motivated to pay for any proposal.

The idea never really worked because finder did nothing to keep the majority of panelists, Steve Gillett, Ben Bova, Brad Lyau, and Hugh Gregory, from changing ground to something they knew about. The panel became a 2-hour symposium on SSTO (single-stage-to-orbit) spacecraft. Two other writers made worthy but futile attempts to pull the others back on track, Arlan Andrews, possibly the only panelist who had worked for a presidential administration, and Charles Sheffield, who illustrated his remarkable insights with cleverly expressed lines like: “The soil conservation bureau long ago realized that mud is a national treasure.”

[Evelyn C. Leeper] Panel: Northern California in SF/F (Sunday, 10:00 AM) [Panelists:] David Bratman (m), Don Herron, Pat Murphy, Diana L. Paxson [Topic:] “The where and why of using real world locations in speculative fiction, with examples drawn from the world right outside the convention’s doors”

I arrived a little late to this, and missed the beginning, but Paxson was comparing using northern California to using Britain as an inspiration. In Britain, she said, there are a lot of structures, ancient and not so ancient, that can be used, and northern California lacks those. But northern California does have legends, and those can take the place of buildings. One of the stories set in the area that she talked about was Ursula K. LeGuin’s Always Coming Home, set in the Napa Valley in the far future after an earthquake has changed the contours of the land. To get the geography right, LeGuin had a cartographer friend of hers (George Hirsch) construct a three dimensional map of the area, then tilt the appropriate sections and flood it with water to see what the new shapes of the bodies of land and water would look like.

Many authors have used San Francisco as a setting. But do they really have that “sense of place” that is so important? Philip K. Dick had it in Martian Time-Slip and other stories, according to the panelists, but Dean R. Koontz’s Shattered (written under the pen name K. R. Dwyer) made it obvious that Koontz had never been in San Francisco. The Net by Loren J. MacGregor did a good job of describing the bars south of Market Street. Perhaps the classic use of San Francisco in science fiction/fantasy is Fritz Leiber’s Our Lady of Darkness, though Pat Murphy’s own The City, Not Long After certainly ranks up there.

Regarding her work, Murphy said that her work in the Exploratorium trained her to observe and “see beyond the surface,” and that is what lets her see the potentials of settings. Someone apparently mapped out all the places mentioned in The City, Not Long After, though Murphy says that the map would probably be a disappointment to try to follow; for example, the vacant lot where the refrigerator sculpture is in the book has no such sculpture in real life (yet!). Regarding this, one of the joys I find is walking around a new place and finding the settings that were described in literature or even other travelogues. And I am not alone–when we were on a boat of about ninety passengers in the Galapagos Islands a few years ago, at least five of us were reading Galapagos by Kurt Vonnegut. Murphy also warned that she and other authors often change some details (such as house numbers) to protect the people who live in the houses. You can claim that room 1247 of the Marriott is haunted– it’s a public building and “fair game.” But if you claim that 1726 Fairlawn Drive is haunted, the people who live there may not like the reputation their house gets. (Does the name “Amityville” ring a bell?)

And of course this sort of desire has spawned the “literary tour” movement, which has two subcategories: tours that visit places mentioned in books, and tours that visit places connected with the authors of these books. Some tours combine both, perhaps showing you where Dashiell Hammett lived and also the places he wrote about. The places connected with authors are often a disappointment–someone said that you go to some house where a famous author wrote his first novel, and you discover that it’s being inhabited now by a Vietnamese family who can’t understand why you are standing on the street taking pictures of their house. (It’s sort of like going back to your childhood home years later. People think you’re casing the joint.)

[Mark R. Leeper] Panel: Getting Around the Solar System (Sunday, 2:00 PM) [Panelists:] Jim Baen, Suzanne Casement, William S. Higgins, Gentry Lee, Jonathan V. Post (m) [Topic:] “What will life be like when we’re not confined to Terra?”

The panel started with the members introducing themselves. Gentry Lee was director of scientific analysis on the Viking Mission and a co-author with Arthur C. Clarke. Bill Higgins is from Fermi Labs. (Personal note: He also put together the science program at Chicon which in my humble opinion was the best at any Worldcon I have ever attended.) Jon Post works on research into nanotechnology, worked on the Magellan space mission and also Voyager 2. Suzanne Casement is a graduate student at UCLA. (In general Lee is more an advocate of unmanned robotic information[1]gathering missions. Higgins, active in the National Space Society, wants man to become a space[1]faring race and would much rather see manned missions than mechanical proxies.)

Post suggested that the first half of the discussion concentrate on what is currently being done in space and what will be done for the next thirty to fifty years. Later they would get to longer term. Lee thought that on the short term the emphasis would be on unmanned missions mostly. Manned missions would be mostly be “Antarctica-type” colonies. With robots we can do a lot more. Decisions have to be made who will pay for space exploration where are we going to go. The Challenger disaster was a real tragedy for the program and now engineering foul-ups, like on the recent Mars mission are making things worse for funding. The Mars Observer was an important lynch-pin and would lead to a lot of future planning. Losing it will cause a huge problem in deciding on new missions needed. We are now going for smaller craft that will have smaller ranges.

Post asked what major changes did members see coming. Higgins said there will be more of a push from the NSS to make hardware that is small and smart. He suggested that there would also be a look at other methods of propulsion. We still seem to be using the same old chemical propulsion rockets and we are nowhere near trying some other propulsion. He expanded on the National Space Society’s position saying that they are working to create a space-faring civilization and that they will really push for anything that will forward that goal. Particularly favored are plans to do prospecting on the moon and asteroids. However, the NSS is not particularly pushing for the missions to map Venus since it seems unlikely that Venus will be a near-term source of resources.

Casement said that in November a wide-field camera will be put in the shuttle for the Hubble telescope. It will be used to look a the planets and design missions. However the problem with the Hubble is that its designs were frozen about ten years ago in order to be able to build it and it would be much more effective with up-to-date technology.

From there the discussion moved to Post’s work experiences. He talked about his work on the Titan 34D. They worked to improve designs on that. His group made basic improvements to the shuttle like using multicolor displays. They also worked on error detection to predict component failure. Among the things that he worked on was a proposal for advanced launch systems including single-stage to orbit. One scheme he proposed included using a huge ground-based laser to power a craft. However, he feels that even if there is research into other propulsions, it will be a long time before rockets have much competition for sending things into orbit. He did discuss using solar sails once equipment is in space. Also he said he had invented a magnetic sail using magnetic field to push huge loop of wire. One of the long-term proposals was to build a craft out of solid hydrogen, cryogenically frozen, so that when it gets to its destination the entire structure could be used as fuel. If there is ice at Mercury’s poles, he suggests that we purify the water and use the poles as a fuel depot near the sun.

Lee considered all the possibilities and said we are in a sort of Burgess Shale point in technology. In the period of the Burgess Shale being formed there were many and very diverse life-forms. Some seem very strange to modern eyes. Evolution pared them down to a few successful types of life-forms and the rest died out. Technology is at a similar stage when there are many baroque ideas for how to solve problems of space travel. The vast majority of these will be discarded. With all the different possibilities for powering cars we have basically one kind of car, one powered with the petroleum[1]fueled internal combustion engine. We have basically one kind of rocket, and we will find which of the current weird ideas for space travel are the best of the lot and the rest will all be discarded. There will be one or two space transportation systems in the future. There will be one or two kinds of propulsion. Lee thinks that in the future we will be seeing primarily robot-control in space in the future. People will fly but not be doing the driving. He sees no compelling reason to put people into space.

Higgins responded with a defense of placing people into space. He said that we are in a time of rapid technological evolution. There will come a time when it will be cheaper and more convenient than today to send people into space. At that point far more people will want to travel in space. Scientists would like to be near what they study. And the biggest product from space will be information. A lot of people on earth will want to learn about new places.

Post asked the panel what is it that calls to us from beyond the solar system and how will we answer that call.

Casement said that people have an interest in finding other solar systems. JPL is already investing in interstellar exploration. But if there is an explorer mission to stars it will take a long time to get data back. Closer to Earth there is Voyager and Pioneer sending data back about more distant destinations and they are still finding interesting things.

Post observed that Gentry Lee sees no compelling reason to send people to the stars, but that does not mean that people will want to go anyway. Post asked what it is that pushes people. Why did people in the United States head west? Most were not looking to get rich, they were fleeing a society they could not stand.

Lee countered that they could breathe in California–they will not be able to do that in space.

Post asked if price came down, would people go? In the days of the Western expansion the cost of a covered wagon and the provisions to go west would be about $300,000 in modern money. If the cost comes down to $300,000 to go to Mars, he expects people will go. And everything said in this panel assumes nothing big is going to happen. If we find proof of alien intelligence, everything changes. If things get so bad on Earth that we will have to escape that will also push us into space.

Lee did not envision a massive move into space. He polled the audience as to how many people they thought would be living off Earth in 500 years. Most said they expected the number to be more then a million.

[Mike Glyer] A SMOFfish Controversy: Should Fans See The Hugo Base Before the Awards Are Given? In 1988, NOLAcon II chair John Guidry passionately believed that the Hugo base should be a beautiful work of art, and in 1992 artist Phil Tortorici fulfilled a similar vision for MagiCon.

ConFrancisco’s bases were being produced by artist Arlin Robbins and expecting something beautiful, the committee wondered if a copy of the base might be displayed in the Hugo Awards exhibit at the start of the con.

When the committee asked this year’s nominees for an opinion they found three schools of thought, by far the largest made up of those completely apathetic about the subject. Since the splinter group opposing early display of ConFrancisco’s Hugo base included the woman running the Hugo ceremony and the man in charge of the Hugo exhibit, ConFrancisco kept the traditional award-night unveiling.

Remember that Worldcons did not have a Hugo history exhibit before 1989. Most people never saw a Hugo close-up unless they bumped into a winner in the hallway. Then again, almost all Hugos given before 1984 were mounted on wooden bases and looked like glorified bowling trophies. There wasn’t anything about them that deserved an audience, and no special reason to be curious about their appearance. One glorious exception was Tim Kirk’s ceramic dragon base for the 1976 Hugos.

Since 1984 almost all the committees have rejected the cliched wooden base in favor of original art or a base made of a unique material, like Australian rosewood or Georgia granite. The artistry of the Hugo base has become a convention’s voice in the ongoing dialogue about how to express the award’s meaning in physical form. Tony Lewis, like everyone else on the Noreascon 3 committee, was proud of Noreascon 3’s Hugo base, a design inspired by landmarks of the 1939 World’s Fair. During the con he guided me into an office to see one close-up. Twenty Art Deco Hugos were lined up on the table, an impressive sight. Jill Eastlake, responsible for the awards, decided not to object since the nameplates were covered with masking tape and I wasn’t going to be handling them. Yet I privately wondered if I was indecently peeping before the ceremony. Thinking now about that experience I realize that I reflexively responded to an aura of secrecy associated with the need to guard the Hugo winners’ name plaques until they have been properly announced; the concealment of the design has only been a coincidental byproduct of that security. Further, for most years before 1984 there was no special reason a committee would want to display its generic wooden base, and prior to 1989 there was no planned exhibit where the current-year Hugo might be shown.

I’m Spartacus! No, I’m Spartacus! Hugo nominees, presenters and guests were invited to a 7:00 p.m. Sunday reception behind the stage in the Esplanade Ballroom, and cautioned to arrive by 7:30 with an eye to an 8:00 starting time for the ceremony. Everyone who cooperated was rewarded with an extra wait of 45 minutes for a late start. There was time for many conspiracies to hatch while the nominees grew restless, munching cheese cubes and gourmet crackers. We began improvising our own amusements.

Andy Hooper noticed Martin Hoare, Langford’s perennial Hugo accepter, and suggested if Langford won, “Let’s all stand up and yell, ‘I’m Dave Langford! I’m Dave Langford!”‘

Dick and Nicki Lynch, Lan Laskowski, Leah and Dick Smith [remembering last year’s mixup] and I also pretended to agree that no matter who they announced for Best Fanzine we would stand in unison and ask, “Are you sure?”

Hugo nominees had been asked by the committee to come in formal attire. I chafed at the suggestion, but division chief Janet Wilson Anderson swayed me with her clever reply to my complaint: “We do want a certain ‘air’ for the Hugos. Tuxes by all means for those who like ’em. Fannish Formal is perfectly appropriate, however, for those ‘tux-phobic.’ I attended the Confederation Hugos as a representative of a Hugo nominee dressed in Irulan’s gold gown from the movie Dune, and at Chicon wore my Napoleonic Court gown. Such garb would also be fine here (though it probably isn’t quite your style.) Gary [Anderson] wore the Padishah Emperor’s Uniform and looked quite formal.”

Diana Pavlac eventually convinced me Denisen Fraser issued the “black tie” advisory out of a gracious sense of wanting to let people know what is appropriate rather than letting it come as a surprise that many nominees do, indeed, dress to the teeth.

So, Diana and I took a few moments before the awards to see how people responded to the committee’s advice. Many did dress formally. Those who dared to be different did it with flair, like Andy Porter in the robes of an Oxford University Doctor of Divinity. Joe Haldeman thanked the committee for allowing him to present Hugos in two categories and giving his tux the extra exposure.

When the guests were dispatched to reserved seats in the VIP section, Fraser was ready to set the wheels in motion. Kevin Standlee perched on a chair and relayed her briefing to the nominees about their order of march. Kevin’s many colorful ribbons covered him like the high priest’s breastplate.

Hugo base artist Arlin Robins was introduced, and waved a sample of her 1993 Hugo overhead. Robins’ octagonal Hugo base was decorated with pewter castings, a compass rose on top and reliefs of well-known sf figures on several sides, including Hugo Gernsback. The craftsmanship was not equal to the idea, for the metal did not take the facial features very well and the identities of the figures weren’t apparent without reading the names underneath.

At last, the nominees were formed up and paraded to their seats.

In the dusk at the edge of the stage I recognized Val Ontell’s voice. She asked if I could see her husband, Ron, standing beside the last seat on the far side and said to walk to him. Ron picked that very moment to leave, and not knowing whether it was part of the plan I kept after him like a runaway steer until Marjii Ellers circled in front of me and aimed me at my seat. For all the jokes I made about Noreascon 3, I wish I could march in to the gladiator’s theme from Ben-Hur once more…

Several pros, most notably, Patrick Nielsen Hayden (on GEnie), accused ConFrancisco of poor hospitality toward program participants in general and Hugo nominees in particular. “I have to wonder at ConFrancisco’s many ‘anti-perks.’ Program participants had the extra-special excitement of additional lines and complications to chase down. Hugo nominees were honored even more by being made to stand up in the wings for forty-five minutes, and made to miss the cool Delta Clipper video.

“In general, I think we could stand to lose this whole procession-of-nominees thing. It was goofy and embarrassing when Noreascon did it, but at least they pulled it off with organization and dispatch. …At ConFrancisco, we had the spectacle of nominees’ spouses standing around looking puzzled and out-of-sorts while their significant others were held captive in the wings. Further, nominees and their spouses had the even more extra-special honor of being unable to pick where they sat, or who they sat with.

“One suspects the whole thing is designed to lather the egos of the people stage-managing the spectacle, rather than to honor anyone or make it an entertaining experience for the audience.”

My personal reaction was quite different and completely subjective. The rest of my weekend was so hectic that I regarded the nominees’ reception to be an oasis of relaxation. I welcomed the opportunity to talk to long-time friends, including Martha Beck, who I otherwise would have missed altogether.

I Never Wrote SF for My Father: Toastmaster Guy Gavriel Kay engaged in byplay with the tech crew and confidently assured everyone he had things under control: there would be no repeat of last night’s problems because he had — a TV remote control. Out of Kay’s sight his every comment was sarcastically denied by verbal slides projected on a screen at the left of the stage.

Three non-Hugo awards were presented first.

The Japanese national convention’s Seiun Awards won by Americans were presented by Masamichi Osako, Takumi Shibano and Nozomi Tashiwaya. Best Novel went to Poul Anderson for Tau Zero in translation. Poul was the only winner present; two other winners were R.A. Lafferty, for a short story, and Daniel Keyes for a nonfiction book.

Forry Ackerman presented a richly-deserved Big Heart Award to Marjii Ellers.

Rich Lynch and Dave Kyle at ConFrancisco in 1993. Photo and copyright © Andrew Porter

Dave Kyle came out and introduced Catherine Crook DeCamp, who presented the First Fandom Award to Ray Beam, turning the tables on the man who has given out that award so many times. Beam’s remarks closed, “Remember: if it wasn’t for our efforts, you wouldn’t be here tonight.”

Chairman Dave Clark announced ConFrancisco had designated a Special Award based on its central theme of building international bridges, to Takumi Shibano. It was a big weekend for Takumi, also selected (together with his wife, Sachiko) as Fan Guest of Honor for L.A.con III in 1996.

Then Janet Wilson Anderson narrated an excellent retrospective of the Hugos composed of slides of old photos taken by Jay Kay Klein, trivia questions spanning the entire history of the award, and chronologically-ordered pictures of books or magazines containing Hugo-winning fiction. Janet and company’s lively and innovative approach made one forget that retrospectives have been done at the past several Hugo ceremonies.

Kevin Standlee, whose responsibilities included supervising Hugo administrators Seth Goldberg and Dave Bratman, engaged in a comic moment by declaring ConFrancisco had gone beyond Price Waterhouse to insure the secrecy of the results. “Security to the bridge,” ordered Kevin and a pair of Klingons came out carrying the award envelopes.

Between the delay and the time devoted to other awards, the first of the official awards, the John W. Campbell Award, was given at 9:47 p.m. The Campbell was won by Laura Resnick. As she was somewhere in the Kalahari region of Africa, her father accepted the plaque for her. Laura had already conquered the romance genre by the time she turned to science fiction: she also won an award for Best Romance Novel of the Year in 1993. Mike Resnick announced later, “My stud fee just doubled!”

With Stanley Schmidt presenting, Mike Resnick accepts award on behalf of Laura Resnick.

In a departure from the usual, each Hugo presenter announced two winners. TAFF delegate Abi Frost gave out the Best Fanartist Hugo to Peggy Ranson, and the Best Fanwriter Hugo to Dave Langford’s proxy, Martin Hoare. Martin was sure when he phoned Dave in London a little later, Dave would answer, “You bastard, you woke me up this time last year, too!”

One of the con’s guests of honor, jan howard finder, presented the Best Fanzine Hugo to Mimosa, which won for the second year in a row. Amid the applause I heard Stu Shiffman yell out, “Bring back Nicki Lynch!” to compensate for my attributing that quote to him in my MagiCon report when he’d actually been in Seattle at the time. And who says fans aren’t timebinders… Then at the end of the ceremony Jay Kay Klein asked me for his subscription check back, “So I can give it to the fanzine that won.”

Finder also got to unleash the surprise of the night. When the Best Semiprozine Hugo went to Science Fiction Chronicle, a quarter of the audience gave a standing ovation. Andy Porter practically flew to the stage with his doctoral robes fluttering like wings. He declared, “These are not the robes of a Doctor of Divinity, but bless you all.”  Locus had won the category the nine other years it had been given, and for four consecutive years before that won as Best Fanzine. (Andy Hooper asked, “Do you think Andy will have the new masthead cut by tonight?”)

Winners received the announcement cards along with their Hugos. Jeremy Bloom, of the daily newzine staff, reported the card listing SF Chronicle as Best Semiprozine added underneath in parentheses, “Really. Not Locus. No Kidding.”

Tom Digby, also a con GoH, delivered the Best Nonfiction Book Hugo won by Harry Warner’s A Wealth of Fable, edited by Rich Lynch, to the publisher’s representative, Bruce Pelz. (The book had been published by SCIFI, the group responsible for L.A.cons II and III.)

Harry Warner with his 1993 Hugo, delivered after the con.

Gardner Dozois, looking spiffy in his salt-and-pepper jacket, gray slacks and shoes of a color that instantly brought Ricardo Montalban to mind [“rich Corinthian leather”], took away another Best Pro Editor Hugo. GoH Alicia Austin handed out the two artist Hugos, to James Gurney for “Dinotopia” and to Don Maitz. Dead guest of honor, Mark Twain, bestowed a Hugo on “The Inner Light” episode of ST:TNG, accepted by Peter Lauritsen.

Presenter Joe Haldeman saddened to suddenly remember that, 25 years before, his wife had been here in California while he was in the battlefields of Vietnam with two weeks to go until their R&R rendezvous, one he never kept because he was seriously wounded and hospitalized. Joe recovered and made jokes about his tux, and handed out the first of Connie Willis’ two Hugos. Connie Willis got a big laugh in her thank-you speech for “Even the Queen” when she said she had complained to Gardner Dozois on winning the Nebula for it that she would now have to go home and tell people what it was about — and she didn’t know what to say. “Tell them it’s a period piece,” suggested Gardner.

Haldeman delivered another Hugo to Janet Kagan who emotionally thanked her mom “for reading me science fiction before I could read it for myself.”

GoH Larry Niven announced the final two Hugos. Lucius Shepard’s Best Novella was accepted by Gardner Dozois who admitted, “I’m not Lucius Shepard, but I play him on TV.” Then came the tie for Best Novel between Connie Willis’ Doomsday Book and Vernor Vinge’s A Fire Upon the Deep. In the past there have been nine ties for Hugo or Campbell awards, and this was the first tie in the Best Novel category since 1966, when Herbert’s Dune and Zelazny’s …And Call Me Conrad shared the Hugo.

Ray Pettis told this story showing how SF Chronicle’s win overshadowed every other result: “When I was riding up in the elevator at the ANA after the ceremony, someone got on at the Filk floor — I assume he saw the high proportion of fancy dress — and said, ‘Hugo’s over?’ <‘yes’> ‘Any news?’ Robert Silverberg’s first comment from the back of the elevator was ‘Andy Porter won; Locus didn’t.’ On a night when there was a tie for Best Novel, and Star Trek: The Next Generation won a Hugo, and women writers dominated the wins, the first comment is ‘Andy Porter won.'”

1993 HUGO AWARD WINNERS

Best Novel (tie)

  • A Fire Upon the Deep by Vernor Vinge (Tor)
  • Doomsday Book by Connie Willis (Bantam)

Best Novella

  • “Barnacle Bill the Spacer” by Lucius Shepard (Asimov’s, July 1992)

Best Novelette

  • “The Nutcracker Coup” by Janet Kagan (Asimov’s, December 1992)

Best Short Story

  • “Even the Queen” by Connie Willis (Asimov’s, April 1992)

Best Non-Fiction Book

  • A Wealth of Fable: An informal history of science fiction fandom in the 1950s by Harry Warner, Jr. (SCIFI Press)

Best Dramatic Presentation

  • “The Inner Light” (Star Trek: The Next Generation) (Paramount Television)

Best Professional Editor

  • Gardner Dozois

Best Professional Artist

  • Don Maitz

Best Original Artwork

  • Dinotopia by James Gurney (Turner)

Best Semi-Prozine

  • Science Fiction Chronicle, edited by Andrew Porter

Best Fanzine

  • Mimosa, edited by Dick and Nicki Lynch

Best Fan Writer

  • Dave Langford

Best Fan Artist

  • Peggy Ranson

John W. Campbell Award for Best New Science Fiction Writer of 1991-1992

  • Laura Resnick

Special Committee Award

  • Takumi Shibano, “For building bridges between cultures and nations to advance science fiction and fantasy”

ConFrancisco received 841 valid ballots for the awards. They were counted and verified by the ConFrancisco Hugo Administrators, David Bratman and Seth Goldberg, with the assistance of a computer program developed by Jeffrey L. Copeland.

Andrew Porter in his Oxford robes after winning the 1993 Best Semiprozine Hugo.

Worldcon Wayback Machine: Friday at ConFrancisco (1993) Day 2

Worldcon Wayback Machine Introduction: Thirty years ago this weekend ConFrancisco, the 1993 World Science Fiction Convention, was held in San Francisco, California. I thought it would fun to compile a day-by-day recreation drawing on the report I ran in File 770, Evelyn Leeper’s con report on Fanac.org (used with permission), and the contributions of others. Here is the second daily installment.

The Worldcon was held in the Moscone Convention Center, ANA Hotel, Parc Fifty Five, and Nikko Hotel.

[Mike Glyer] Friday in the Parc with Norton: The scourge of homelessness being on everyone’s mind it became unintentionally appropriate that an actor spent the weekend playing San Francisco’s celebrated wanderer, Emperor Norton. The original roamed 19th century San Francisco’s streets with his dogs Bummer and Lazarus.

The regally costumed impostor participated in Opening and Closing Ceremonies, cut the ribbon to officially open Hall D, attended the Hogu Ranquet, and convened ConFrancisco’s version of the meet-the-pros on Friday night at the Parc 55 Hotel. He decreed, “His Imperial Majesty, Norton I, Emperor of the United States and Protector of Mexico invites all his loyal subjects — and all the disloyal ones as well — to the Imperial Reception in honor of ConFrancisco’s Honored Guests and Hugo and Campbell nominees.”

Norton’s party belied the proverb that there is no such thing as a free lunch. Science Fiction Age donated a huge cake. Other free snacks included a freeze-dried “ice cream of the future,” and someone who’d had several servings drank up everything in sight at the LA party, warning that the ice-cream of the future sucked liquid out him equal to its weight.

Reception organizer Eve Ackerman, the power behind the throne, credited Glasgow ’95 Worldcon committee for making the evening by staging a ceilidh, a Celtic dance party.

[Mike Glyer] The Hall D Concourse: ConFrancisco’s Concourse, simply called Hall D, worked very well. If the committee did not devise anything like MagiCon’s golf course to systematically lure people through the exhibits, their creativity shone through in other ways.

Two visual signatures energized the ordinarily dead space above Hall D. A colorful balloon sculpture of a 20-foot-long Chinese dragon strutted midair. A second balloon sculpture, all gray and meant to symbolize a bridge, hung at the back of the hall. The bridge was less successful, merely looking like a garland until viewed end-on, when the cross-braces became visible.

Hall D’s layout was roughly like a rectangle divided into six blocks. The blocks contained, in clockwise order starting from the upper left, (1) Historical exhibits; (2) Local color exhibits; (3) & (4) the Dealer’s Room; (5) sales, volunteers, bid tables and the fan lounge; (6) the Art Show.

Gary Louie did his usual outstanding job with the Hugo Awards exhibit, showing Hugos won by Kelly Freas, Robert Silverberg and others, and copies of award-winning novels. Gary also had his hand in the guest of honor exhibits. Did you notice two bogus items in the Larry Niven display, Niven’s Hollywood (by that other Niven), and The Hindmost, a non-sf book coincidentally named the same as the Puppeteer leader?

Hugo Awards exhibit. World Science Fiction Society banner. Gary Louie to the right, in back.

The Local Color exhibit had an appealingly cryptic geography. One day the newzine invited readers to find the exhibit “at the SF Abridged area, just this side of the Doggie Diner head, near the corner of El Camino Real and Emperor Norton Boulevard.” It’s quite possible everyone immediately understood the directions since they referred to the eight-foot-tall, torsoless head of that papier-mache hound from heck, M. Barkadero. His day job is advertising The Doggie Diner. He spent the weekend at ConFrancisco overseeing exhibits about the Bay Area: rock concert art from the Fillmore Presents collection, a government display about quakes, and vibrators from the Good Vibrations museum.

Just one block (or carpet square) away was the Speaker’s Corner, offering passing fans a platform where they could try and attract an audience for whatever was on their minds. Fanzine fans borrowed it Saturday afternoon to perform Andy Hooper’s latest faanish movie parody, The Last Ghurrah. Hooper was a riot in the Spencer Tracy role of a fan political hack at the end of his career, helped by a dozen players including Jeff Schalles and Jerry Kaufman.

Hooper also organized the Fan Lounge adjacent to the Local Color area. The Lounge was an oasis made of pipe and drape, opening onto an area containing eight round tables where customers of the espresso bar munched on muffins and foot-weary passersby alighted to rest and study the Quick Reference Guide. Andy Hooper supervised fanzine sales, and gave the evil eye to the overflow breakfast crowd poaching seats in his Lounge. The owner of the espresso concession complained how little business he was doing after I commented about the new plastic antennae he sprouted on the con’s second day, his own attempt at “local color.” I didn’t have a chance to ask him how business went the rest of the weekend because I couldn’t get through the line around his stand.

The refreshment area served a valuable purpose as someplace people could run into friends, because it was beside the heavily-traveled intersection of two paths leading to the Dealer’s Room or the Art Show.

[Evelyn C. Leeper] Panel: Ahoy, Have You Seen the Great White Archetype? (Friday, 12 noon) [Panelists] Mary J. Caraker, Howard Frank, Katharine Kerr (m), Mike Resnick, Carol Severance. [Topic] “What are they? Uses and abuses? Are there ‘styles’ in archetypes over the years?”

The panel described archetypes as “ripping off mythological themes,” as well as Christ figures and primitive legends. Most science fiction and fantasy is dominated by white European cultures and archetypes, though Severance uses Pacific Islanders and their archetypes. (Severance did note that she realizes that “Pacific Islanders” is a very broad term, encompassing many different cultures.) Severance felt that using different cultures made the fiction more interesting, because “every culture carries the rhythm of the physical setting that it’s in.” She mentioned in passing the large number of words for snow in Inuit languages, but also said that every Pacific Island language had a word meaning “death by falling cocoanut.” Caraker is using the Kalevala (Finnish)–European, but not really over-used.

The panelists tried to distinguish between stereotype and archetype by saying the an archetype is a function within a pattern of story (e.g., quest stories have a hero). As Maia Cowan noted, archetypes don’t have to be people; they can be the quest itself, the journey, the generational ship, the wild place, or the clean village. (Someone noted that Earth is a generational ship, and someone else observed only poor villages were clean, because only rich villages would have garbage.) Olaf Stapledon was an author with a lot of archetypes and no characters whatsoever.

One danger in talking about archetypes is that people will find things in writing that was never (consciously) intended by the author.

H. Rider Haggard was an author cited whose work was almost entirely archetypal. But Frank noted that Haggard’s best-known work was not his best, and that Haggard had the utmost respect for black culture in Africa, contrary to many people’s impressions. Haggard also has a Victorian view of women but not, Frank claimed, a negative one. (Frank recommended Nada the Lily and Eric Brighteyes as Haggard’s best. She was written in six weeks on a bet.)

Doyle used archetypes: the wise old storyteller in Watson (and others). In fact, the wise old storyteller is a very popular archetype among authors, undoubtedly because they are storytellers. Wells has his wise old professor (Cavor). Romulus and Remus are the feral children, which we see later in Rudyard Kipling’s Mowgli and Edgar Rice Burroughs’s Tarzan. But now these characters are usually given some flaw, usually for comic effect. Even so, science fiction still has noble characters, according to Frank, while most literature doesn’t. Kerr felt that women authors often play against archetype as well as against stereotype in their female characters.

We now have the wise and compassionate alien and the creation that destroys its creator. They may seem new, but they really go back to the angel and the golem. There’s also the master navigator, which shows up with Maoris as space-farers. And Heinlein’s “competent man” is another archetype.

Someone asked if archetypes are what prevents science fiction from becoming a literary artform, or at least accepted as literature. This seems unlikely; there is much archetypal literature that is accepted as literature.

Anti-heroes are also found in science fiction: Alfred Bester’s Demolished Man and The Stars My Destination, Clifford Simak’s City, and David Lindsay’s Voyage to Arcturus. The prophet as archetype is now often replaced by the author himself or herself, as when someone writes an “if this goes on?” tale. This observation led someone to wonder if a Calvinist (or other believer in predestination) could accept a cautionary tale. On the other hand, what are all the warnings of damnation in the Bible if not cautionary tales?

Apropos of not much else, someone noted that in 1966 a survey of science fiction authors was taken and only Robert Heinlein and Robert Silverberg were making more than $10,000 a year from their science fiction writing. (Isaac Asimov was making more, but mostly from his science writing.) Things have improved; a recent survey shows several authors (unnamed) making more than $50,000 a year from their science fiction writing.

[Mike Glyer] Panel: Professional Ethics for the Amateur (Friday 1:00 PM) [Panelists:] David G Hartwell (m), Teddy Harvia, Rachel E Holmen. [Topic:] “Artists, writers & editors: being professional- even if you’re not paid.”

Editors David Hartwell and Rachel Holmen, and artist Teddy Harvia addressed the topic from two viewpoints, how amateurs should interact with editors for the benefit of their future in the business, and how fans should function ethically within the realm of fannish publishing.

Hartwell began by admitting amateurs’ manuscripts are held to a higher standard of simple neatness, because if Heinlein or Delany submit sloppy manuscripts — as Delany may, due to his dyslexia — the editors already know they want to read the stories very carefully.

Rachel Holmen said that simultaneous submission of stories to several publishers can cause a real headache because amateurs don’t know the rules. Foremost, the writer must tell a publisher they are receiving a simultaneous submission. This avoids a real nightmare of having an editor, who has already sent a manuscript to press, discovering the same story in another magazine on the stands.

Teddy Harvia warned against unethical fanzine practices. He’s seen it all, in his 15 years as a fanartist. When a faned traced one of his cartoons onto mimeo stencil, Teddy considered it a misrepresentation of his art and refused to let the fan publish any of the others Teddy had submitted. The fan replied that he had the cartoons, he had the rights to them, and would do as he pleased. In an unusual move, Harvia engaged a lawyer to write a letter to the fan demanding attorney fees and a fine of $50. Apparently he scared the hell out of the kid, who sent the money.

[Evelyn C. Leeper] Panel: Gender Bending: What’s Good (Friday, 2:00 PM) [Panelists:] Michael Blumlein, Suzy McKee Charnas, Jeanne Gomoll (m) [Topic:] “Exploration of gender and roles isn’t as popular in science fiction as it used to be. Are the issues too imponderable or have we explored this area thoroughly?”

Blumlein started out by reminding us that the major debate about gender roles is still nature versus nurture. One of the best examples using the nurture theory in recent books is Sheri Tepper’s Sideshow, in which the one of the two (hermaphroditic) halves of a set of joined twins is raised as a boy and one is raised as a girl.

Charnas noted that women can fill the spectrum of behavior, but that most fiction doesn’t provide enough templates for this. However, if one writes about a society composed only of women, one finds that there is no problem in writing about a complete society. One doesn’t find parts that women can’t fit. (One assumes the same would be true from a men-only society, assuming some form of artificial reproduction. In fact, someone said that Lois McMaster Bujold did this with Ethan of Athos.)

One function of gender roles is to provide people with an anchor of stability. Most people are uncomfortable in free-floating masses of people (according to Charnas) and so groups form. (This hearkens back to Robinson’s comments about tribalism in his Postmodernism lecture.) Charnas gave Nicola Griffith’s Ammonite as a good example of this group dynamic. The discussion drifted into “gender dysphoria,” or the psychological condition of feeling that your psychological sex doesn’t match your physiological sex. (Forgive me if I am expressing this poorly; I do not have an M.D.) Someone said that, while transsexual surgery used to be considered a solution to this, such surgery is becoming less popular, though many people are taking the necessary hormones and living as the “other” sex. One suggested reason for this is that the easier of the two surgeries is male-to-female, but being a female in society today results in a loss of power, and people aren’t ready to do that permanently. (Though I would think living as a female would have the same effect.) With this, as with a lot of the discussion, a lot of generalizations were thrown around.

Someone pointed out that even if someone did change their sex later in life (such as happened in Virginia Woolf’s Orlando), they would still have experienced the first part of their life as their original sex. In the case of Orlando, he had gone through adolescence as a boy, and so did not have the same life experiences as someone who went through adolescence as a girl, even after he changed into a woman. (The panelists felt that the movie left a lot out that the book had.)

Regarding gender roles, someone observed that society makes rules because the rules aren’t fixed within us–if they were, we wouldn’t have to make artificial ones. Someone else cited The Rainbow Man by M. J. Engh, in which women were defined as people who could give birth. So a “woman” who had some physiological problem which would prevent her from giving birth would not be considered a woman by that society.

One belief expressed was that there is a lot of emphasis placed on the societal pressures put on girls and woman, and less placed on the corresponding pressures on boys and men. At least one panelist said that we pretend that we can “skip the angry part” of problem-solving, but that is not true; we need to confront the pain.

There was some book-flogging at the beginning of this panel. Blumlein, who has an M. D., has written The Movement of Mountains and The Brains of Rats, and has a new book (called X, Y) coming out soon from Dell which will deal with a gay man who wakes up one day as a woman.

[Note: When discussing this subject, one trips all over the pronouns of the English language. If one is discussing someone who is in transition from one sex to the other (or was one and is now the other), pick either “he” or “she” and stick with it. “He/she” may work in written language as a replacement for “He or she,” but in spoken language “he-she” is considered as offensive as any number of racial or ethnic epithets which I will not list here. This is undoubtedly because this grammatical construction has been picked up by the religious right and used by them in an extremely negative and condescending fashion. So now you know.]

[Evelyn C. Leeper] Panel: Turning the Wheels of If (Friday, 6:00 PM) [Panelists:] Charles K. Bradley, John L. Flynn, Evelyn Leeper (m), Brad Linaweaver, Paul J. McAuley. [Topic] “A discussion of likely change points for alternate realities, universes and histories”

[Much thanks to Mark [Leeper] for taking copious notes during this panel, as I can’t be on a panel and take notes at the same time.]

Although usually the panelists for a topic are authors who have written about that topic (and that was true here of Flynn, Linaweaver, and McAuley), Bradley was on the panel for a more unusual reason: he uses alternate history as a way to teach students regular history (though he did admit that sometimes he had to make sure they weren’t getting confused about what was real and what was imaginary!).

I started by asking the panelists to pick one change point they would like to see dealt with, with the caveat that it not be European or North American, and especially not the American Civil War or World War II. McAuley thought that something involving Chinese expansionism might be good, although the feeling was that the Chinese philosophy did not lend itself to exploration; the Chinese had more of a feeling that other people should come to them. I suggested that if this came out of Confucianism, then a timeline without Confucius might have some interesting results. (Someone later suggested that the Chinese stopped exploring because they saw no monetary benefit from continuing.) Flynn said the one alternate history story he had written (“Paradox Lost”) assumed that the Library at Alexandria hadn’t been burnt and that the Egyptians conquered the world. I pointed out that what Mark was always reminding people was that the amount of time since the fall of the Egyptian empire was shorter than the time the empire existed (or as Mark says, “We are in the umbra of the Egyptian empire”). Linaweaver said he had just written “The Bison Riders” in which the Aztecs are not defeated by the Spanish, but instead become high-tech and expand into North America. (Strictly speaking, this is still a North American change point, but not a Eurocentric one.)

Bradley thought that something interesting could be done with General William Walker, who tried to seize Baja California and Sonora in 1853. He failed, but set himself up as president of Nicaragua in 1856, but was expelled in 1857. In 1860, he invaded in Honduras, where his luck ran out: he was captured, court-martialed, and shot. Even today, he is hated by many factions in Central America. Another suggestion Bradley had was what if we had supported Ho Chi Minh, though again that is too close to an over-used change-point. My personal favorite (having recently read about prehistoric animal migrations) is what if the Bering land bridge had not existed? Not only would the Americas have been unpopulated when the Europeans (or Asians, or Africans) arrived, but the animal life of the Americas, and of Europe/Asia/Africa would have been vastly different. For example, as someone noted, horses and camels were New World animals which migrated back to the Old World and then died out in the New World. Imagine a Europe/Asia/Africa without horses or camels or donkeys. Other ideas for change-points batted around through the hour included what if Kaiser Wilhelm’s father had lived longer, what if the Roanoke Colony had never existed, what if Carthage hadn’t been defeated by Rome, what if Peter the Great hadn’t turned Russia towards the West instead of remaining Eastern and what if Huey Long had been elected President (Virginia Dabney had this happen in a 1936 story which also assumed the South won the Civil War, and Barry Malzberg did this last year in “Kingfish”). Bradley noted that there are still people who believe that Roosevelt had Long killed, leading to a brief digression into conspiracy theories and secret histories, with Linaweaver suggesting that maybe Roosevelt also flew the lead plane at Pearl Harbor.

There was some subsidiary discussion about the Aztecs. Political correctness these days blames the Spanish for conquering them, but the fact is that the Spanish had a lot of help from the Aztecs’ neighbors, who were tired of being captured for human sacrifices. Linaweaver claims the Aztecs were vicious fascists. (Note that he speaks from a libertarian perspective, though I suspect he’s right in any case.)

I asked the panelists’ views on the “tide of history” versus “great man” theories, noting that the former was in some sense the Marxist view and the latter the capitalist view, leading the former to be somewhat in disrepute these days. I placed myself somewhat in the middle: some things happen because of a unique individual, but there is also truth to Robert Heinlein’s “When it’s time to railroad, you railroad.” McAuley wondered if Marxism itself would have gotten off the ground without Marx to write Das Kapital. Since it was based on technological acceleration, would Marxism have arisen if we never got beyond water power? Flynn agreed that the “great man” theory seems the most likely to be true. Linaweaver agreed with me that a mix is the most reasonable guess. He suggested that without Hitler, there probably would have been a World War II, but it probably would have been very different, and the Holocaust would almost definitely have been greatly reduced. He noted that Communism had been based on the work of many people, but National Socialism was entirely Hitler’s concept. Other “great men” he listed were Einstein and Tesla. When I suggested that if Einstein hadn’t discovered relativity, someone else would have, Fred Adams from the audience said that was true– that relativity was in the air. I gave the further example of Newton and Leibnitz discovering calculus independently and almost simultaneously. (Christopher Ambler said this sort of simultaneity happens all the time.) Bradley was also middle-of-the-road, giving one example of the “great man” theory the idea that without a Lincoln, the United States would not have survived intact.

Someone commented that the rise of chaos theory has led to “fast” alternate histories, in which change occurs much more rapidly than it did before. It used to be that even after fifty years, things looked much the same as in our timeline, but now things become unrecognizable in a short time. This, of course, makes it more difficult for the reader to connect with the story.

At Flynn’s suggestion, I asked the panelists why they thought there was such a fascination, especially now, with alternate histories. Flynn suggested it was wish fulfillment. (Bradley noted that alternate histories strike a basic cord in the human psyche; he is descended from Aaron Burr and might have been king.) Ambler disagreed, saying that we may be interested in some of these alternate histories, but we don’t necessarily wish for them. Regarding this, I noted that there are two categories of alternate history: the pessimistic (things could have been better) and the optimistic (things could have been worse). The French seem to like alternate histories almost as much as the English-speaking world, yet their alternate histories tend to be more pessimistic (according to Mark Keller). In particular, they focus on how much better things would be if everyone spoke French. Linaweaver thought that the British, on the other hand, portrayed more dystopias than we did, partly because we are still an empire.

Someone said that most alternate histories focused on people; what about some that focused on diseases, natural disasters, and other events? I noted there have been several based on variations to the spread of the Black Plague (especially the stories in Robert Silverberg’s “Gate of Time” anthologies), but other ideas included what if Hurricane Andrew hadn’t hit (too soon to show radical change, in my opinion), what if the storm hadn’t delayed the Spanish Armada (done by Joseph Edgar Chamberlin as an academic study in 1908), and what if space aliens had invaded us? (For many of these and other ideas, Linaweaver said that work was being done on them, and that Harry Turtledove would be writing them all.) I noted that regarding plagues, 90% of the deaths in the New World after the Spanish arrived were from disease, not warfare.

We cautioned was that changes had to be somewhat reasonable, a constraint that many authors don’t seem to recognize. Many people look at what might have happened if the South had won the Civil War or Germany won World War II, but close examination shows usually there is no way for their scenario to have happened. Prospective authors should watch James Burke’s television series Connections to get an idea of causality in history.

I also observed that in alternate histories changing the past changes the future, and maybe this was popular because we want to believe that changing the present changes the future as well. We want control over our destinies, and alternate histories (in general) say that there is not pre-destination, but rather free will. (This may have arisen out of Kim Stanley Robinson’s comments in his lecture on Postmodernism, when he noted, “The future is going to be different depending on what we do.”) In traditional Judaism it is a sin to wish for something that is not possible, e.g., to want to change history. Yet alternate histories give us a way (vicariously) to do this. I also thought that part of my interest was based in my Jewishness–what if the Holocaust could have been prevented?

We never actually figured out why alternate histories were science fiction, although Linaweaver said they were part of the “speculative fiction” aspect of “SF.” In history and economics they’ve been around for a while, as “counter-factuals.” In any case, the panelists (especially the authors) said they hoped people kept reading them. Linaweaver also added that he enjoyed alternate histories because he still believed in human genius, and I suggested that the lesson to be learned from them is that one person can make a difference.

At the end, many people requested copies of the Robert Schmunk’s alternate history list, an invaluable reference. Linaweaver and Thomas Cron are working on a bibliography in book form, but it’s not out yet.

(I would like to note here that John Flynn came incredibly prepared for this panel–certainly more than I was. For example, he mentioned that in his reading up, he found that someone referred to change-points as the “Jon Bar Hinge,” after the character in Williamson’s Legion of Time. I would recommend him as a totally reliable panelist for other conventions.)

[Mike Glyer] Party Animal…Not: Friday began an entire weekend of large-scale open parties. Fans trying to get upstairs in the party hotel, the Parc 55, were delayed by spastic elevators that lit up like a keno board every time they reached the top or bottom floor, activating a dozen random floor buttons. The return trip became a halting, time-consuming pilgrimage. Kent Bloom heard that the elevator problems happened when the motherboard in the control computer overheated. Operations only returned to normal when a replacement was brought in about 1 a.m. Saturday.

I missed nearly every party, including the L.A. bid parties I supplied and helped set up, to run other errands. The few parties I did attend still produced their quota of memorable moments. When Rick Katze told me, ‘‘Chip Hitchcock isn’t at the con, he broke his ankle skydiving,” the image so took me by surprise I could only respond, “Was his Elvis suit too long?”

Outside the Baltimore in ’98 party I was talking with Ben Yalow, and we were joined by Dick Lynch and Teddy Harvia. Dick’s description of the latest Mimosa led to a spirited discussion of what a great fanwriter Dave Langford is that waxed so enthusiastic Teddy whispered consolingly, “I voted for you.”

Class Nine Climb: Genuine party animals Kurt Baty and Scott Bobo cruised until dawn gathering material for their excellent (perhaps that should be, “excellent, dude”) coverage in the daily newzine. They walked up 32 floors in the Park 55, on Friday night, to bypass the wonky elevators. Something they noticed en route was, “Our Russian friends were slowing down…but perked up when they noticed the video monitor on the 31st floor was showing adult videos. Kurt says this was the best ‘hack’ of the night.”

Copy! Kurt and Scott filed daily party reports in ConFrancisco’s very useful newzine, The Norton Reader. Alan Winston edited the Reader, helped by Chas Baden, Vanessa Schnatmeier and Jeremy Bloom. Robert Sacks also made a solid contribution, covering WSFS business meetings, and special events. Party reporters Baty and Bobo received Winston’s thanks because they “livened things up by laughing hysterically over their own reports.” You will, too when you read their report of Saturday’s parties in the next installment.

Worldcon Wayback Machine: Thursday at ConFrancisco (1993) Day 1

Worldcon Wayback Machine Introduction: Thirty years ago today ConFrancisco, the 1993 World Science Fiction Convention, began in San Francisco, California. I thought it would be fun to compile a day-by-day recreation drawing on the report I ran in File 770, Evelyn Leeper’s con report on Fanac.org (used with permission), and the contributions of others. Here is the first daily installment.

The Worldcon was held in the Moscone Convention Center, ANA Hotel, Parc Fifty Five, and Nikko Hotel.

ConFrancisco logo

[Mike Glyer] Booing Pavarotti: Sports fans can name the cities where crowds are always tough, knowledgeable and critical, prone to boo any mistake; so can opera buffs and bullfight aficionados. The Worldcon is similar, except that the tough crowd will go anywhere the con is held.

The comparison comes to mind because I heard unwarranted grumbling and sniping about ConFrancisco, criticism quite out of proportion to what I felt was the actual quality of the convention. This was a good, competently-run Worldcon which nevertheless had areas that could have worked a lot better by adopting the crowd-handling tactics of MagiCon (1992). Unfortunately, one of them was registration, and that made a poor first impression on many fans. Once fans were past the opening hurdles they discovered that ConFrancisco contained all the richness and variety expected of a Worldcon.

[Mike Glyer] The Longest One-Liner Town: On a clear, blue San Francisco day I pressed through the crowds lined up at the Powell Street cable car turntable and headed for the Moscone Convention Center, smugly grateful not to be in line for some tourist trap.

I crossed Market Street and in the next block saw a hole the size of an asteroid crater, full of scaffolding and concrete forms. The Moscone expansion proceeded on all sides, fortunately involving none of the interior space assigned to ConFrancisco. Taller than the catwalks, two ranks of international flags marked the entrance on the side away from me. Rounding the corner, I found the entrance was also marked by one of the longest lines in Worldcon history.

Most of my time in line was spent alongside Mike Resnick, so I enjoyed it a lot more than most, bantering about the delay. I was bemused to see Gardner Dozois and Kristine Kathryn Rusch covertly offering him the use of their green “SET UP” passes for immediate admission to the Moscone. Resnick declined and kept pointing out that a set-up pass got you inside but didn’t get you ahead in the registration line: without a membership badge, where could you go?

Bill Warren, the L.A. film critic, wondered why crowd handling at the Worldcon didn’t measure up to the San Diego Comic Con which deals with three times as many attendees. “You never had to wait more than five minutes in line in San Diego — but ConFrancisco seemed to thrive on lines.” Thursday’s incredible lines happened because ConFrancisco did no registration on Wednesday evening, despite the example of Chicon V and MagiCon, which registered over 2,000 members on Wednesday night. Instead, ConFrancisco wound up registering 3,500 members on Thursday. Waiting time obviously could have been reduced if they’d used early registration to split the crowd.

“Registration,” said Sharon Sbarsky, who worked the area at Noreascon 3, “is one of those areas that gets fixed and broken over and over again.” ConFrancisco’s Wilma Meier, chief of the division handling Registration, said informal plans to register on Wednesday were dropped because the computers didn’t get set up in time. “We were not ready to handle any transfers or special paperwork that might have come in that evening.”

But Sharon Sbarsky, who worked registration at Noreascon 3, pointed to their example of allowing pre-registered staff to check in on Tuesday and opening full registration on Wednesday. Computers were not required for the early stages of that process, and Sbarsky felt there was no reason to delay the majority of ConFrancisco members who were ready on Wednesday simply because computers weren’t online for transfers. The minority of people with those needs could have been asked to return Thursday when the system was fully in place.

Meier minimized the inconvenience, claiming, “Once the doors opened at 9:00 a.m. the longest anyone had to wait from end-of-line to getting their badge was approximately one hour.” I disagree: I got in line around 9:45 a.m. and was not fully processed until after 11:30 a.m. Not counting my time in the “Solutions” line, I waited 70 minutes. I spent my last 45 minutes in line at the “Solutions” table waiting to transfer a membership. When I reached the final gate I got my badge, pocket program and a blue ticket for the Souvenir Book. I went to find out what I could do with them.

[Mike Glyer] What Has It Got In Its Pocketses? Pocket programs are sometimes unwieldy and user-hostile, prone to be dismissed with the complaint, “It doesn’t even fit in your pocket!” ConFrancisco proved that if a program guide is easy-to-use, accurate and lightweight, people recognize that’s a lot more important than whether it fits in a man’s shirt pocket. (Half the fans never felt that was a necessity in the first place…)

ConFrancisco’s Quick Reference Guide received more compliments than any similar publication in Worldcon history. Thanks go to Gail Sanders, designer, and Tom Becker, computer programmer, for innovating the sturdy, 7 x 4 spiral-bound booklet. If future committees are sensible, the Quick Reference Guide will be widely imitated.

[Mike Glyer] The Incredible Shrinking Name: On the other hand, the badges are an example of what to avoid. Though David Bratman didn’t write it as a criticism, I think his description of people trying to read the badges at the GEnie party sums up the situation. “Never have I been to such a large party where so many of the attendees walked around hunched over, peering at each other’s nametags and periodically exclaiming, ‘Oh, so you’re so-and-so!”‘

Solutions to the Worldcon’s routine problems seem to get lost quicker than the secret of Damascus steel. Four years ago Noreascon pleased everyone by laser-printing headline-sized names on extra large badges. For some bizarre reason, the last two Worldcons continued the large badge size while printing the names in smaller, hard-to-read typefaces.

[Mike Glyer] The Bottom Line: The entrance hall used for registration was all glass and aluminum, reminiscent of the Crystal Cathedral. Access to the escalators involved a concealed sightline that surprised visitors at the last moment with a breathtaking, twenty-five foot descent into the exhibit hall. Or on Thursday morning, stunned them with the sudden realization that below was another huge line, snaking away from the program book distribution table.

Eric Watts heard that the reason Souvenir Books were distributed separately is that they weren’t ready when registration opened. However, another report said this arrangement for distributing program books was designed to reassure the publisher furnishing thousands of free copies of a new Niven/Barnes paperback that the books couldn’t pilfered by someone who’d tear off covers for returns. At the same time that fans picked up their program books they collected numerous other free books and souvenirs.

[Evelyn C. Leeper] Programming Statistics: There were 492 program items listed (not counting readings and autograph sessions). MagiCon had 420 program items, Chicon V had 520 program items, ConFiction 337, and Noreascon 3 833 (all not counting films or autograph sessions). I have no idea how many videos and films there were: due to family problems, the head of media programming had to withdraw shortly before the convention and the schedule was totally changed as the convention had to start from scratch at that point. (John L. Flynn came through with what must have been only hours notice with a series of lectures to go with the “Dracula” film festival that was shown one day.) There were also 33 autograph sessions and 29 readings. Once again, there were a lot of panels at this convention of interest to me, and I ended up with no time for lunch (and occasionally no time for dinner!)

Mark and Evelyn Leeper in 2002. Photo by Mark Olson.

[Evelyn C. Leeper] Panel: “State of the Short Story” (Thursday, 4:00 PM) [Panelists:] Maya Kathryn Bohnhoff, James Brunet, Scott Edelman, Rick Wilber. [Topic] “How does this form fare in science fiction and fantasy magazines and books, and in the rest of the literary world”.

Edelman began by saying that in his opinion, short fiction is where everything important happens first–it is the cutting edge. Other panelists felt that this might be connected to the fact that short fiction gives the author more immediate feedback or gratification. While a novel could take a year or more to write, a short story can be written in a much shorter length of time. So writers are willing to make the investment in experimenting in the shorter forms. In addition, there are more markets for short fiction now than there were ten years ago. This does not mean it’s easy to break into the market, but it is easier than before.

Because it is true that short fiction is not as profitable as novels, many people seem to feel that authors “graduate” from short fiction to novels. (See the introduction to Karen Joy Fowler’s collection Artificial Things for a description of this phenomenon: she says she prefers short fiction and even got a reputation as “the person who wouldn’t write a novel for Bantam.”) Wilber also thought that short stories were not only “a good place to get started, but … also a good place to be.” And Harlan Ellison, one of the most respected writers in the field, has never written a science fiction novel (though he has written a couple of non-science-fiction novels).

One problem with short fiction is that magazines have a definite shelf life. Stories may be popular, but after their month or two is up, they become impossible to find. While anthologies have a longer lifetime, they are less predictable or reliable. As Brunet put it, “The anthology is the hot date; the magazine is a long-term relationship.” It is true that inclusion in one of the “Year’s Best” anthologies will probably assure a story of being available for at least a couple of years, but original anthologies are trickier.

The panelists pointed out, however, that science fiction magazines at least have a readership. Literary magazines stay alive because of the pressures of academia: they provide a place to “publish” instead of “perish” for professors, and they are pretty much required reading for other professors. Science fiction magazines, on the other hand, stay alive because people want to read them. The opinion was expressed that this might even explain some of the hostility toward science fiction from academia: jealousy.

One recent phenomenon is the stand-alone novella from publishers such as Bantam. Priced below the cost of a novel and offering readers a chance to read a “book” without committing to a 600-page odyssey, they are also giving authors more market for novellas, traditionally a hard form to place.

Above all, though, Wilbur says, if you want to break into the short fiction market, “embrace rejection.” In agreement, Brunet said that the best experience he got for selling short fiction was his experience dating in his early twenties.

[Mike Glyer] Panel: Eric Drexler on Nanotechnology (Thursday 4:00 p.m.)

Nanotech prophet Eric Drexler spoke at ConFrancisco. Elton Elliot, that round mound of the profound, asked me if I’d heard nanotechnology might be applied to rid the body of excess fat. “I expect to see many people of the avoirdupois persuasion in the audience,” said Elton.

[Evelyn C. Leeper] Panel: “Today Is Tomorrow’s Yesterday” (Thursday, 6:00 PM) [Panelists:] Barbara Delaplace, John Hertz, Harry Turtledove (m) [Topic] “Likely errors in future historical fiction about our era”.

The panel started by defining “today” as the period from 1945 to the present. The most obvious errors, they said, would be simple anachronisms: pot-smoking free love in 1951 or a Beatles concert in 1947. Authors writing about a historical period need to throw in details like this to create verisimilitude–as Hertz said, “Verisimilitude is very tricky stuff”–but it is very easy to get it wrong. Suggesting a few details allows the reader to fill in the rest, and authors aren’t always careful about the details, especially if they think their audience is unfamiliar with the period.

Of course, unfamiliarity may not be the case. After all, there is a flood of information available for the present. Byzantine history (Turtledove’s specialty) requires inference from the documents surviving, but we are absolutely swimming in documents. Even with some of them unreadable due to obsolete media (such as music stored on eight-track tapes), there will be so much that it will be impossible to avoid verifiable errors with only a finite amount of research.

Another error is that people forget how quickly attitudes can change. This is what Mark calls the “Happy Days” Syndrome: the show took place in the 1950s, but everyone had the attitudes of the 1980s. This is also one reason that feminist Regency novels don’t work very well. (Hertz suggested that you think of a viewpoint as a geographic thing.) It’s easy to eat the food of people of another period and wear their clothing, but it’s hard to think their thoughts and feel their feelings. Turtledove warns, however, that you often have to tone down attitudes or the audience will be turned off by them. For example, the attitude that blacks were sub-human was very common in earlier centuries, yet having a “hero” who espoused this attitude, however accurately, would not be acceptable to modern audiences. Rest assured, though, that we will suffer the same fate or, as Turtledove put it, “Whatever you think about X will be considered absurd five hundred years from now,” where X could be religion, abortion, meat-eating, or any other subject. Yes, we think we have proof that our beliefs are right, but then previous generations also thought they had proof. Panelists also noted that some facts need to be left out–they are too convenient and people will think you have made them up.

One thing that Hertz felt characterizes our period as different that might very well seem absurd in the future is that we are as compulsively casual as previous cultures were formal. Whether the pendulum will swing completely back is not clear, but he feels that some return to formality will occur, and we will look absurd to future readers.

On the other hand, novels written about their own period can often skip important details that would be obvious to those of the author’s time, but completely lost on an audience a hundred years later. As one panelist said, he could tell when reading a Jane Austen that something important was going on, but he didn’t have the knowledge of the period to figure out what. Writers writing about earlier historical periods have to give the reader enough to understand what is happening. Georgette Heyer is supposedly good at this.

Turtledove observed that writing about the past was dangerous because “you have more excuse for making mistakes about the future than about the past.” Even so, some literary license is permitted since “historians deal with facts, novelists deal with truth.”

More basic questions raised were: Will anyone care about us? Why do we do the strange things we do? What are the future stereotypes of our age? These were not answered, but the last one brought about the observation that an era of history is only noticed after it is over. (As Kim Stanley Robinson noted in his lecture on Postmodernism people didn’t sit around in Europe and say, “Well, last year was the Dark Ages, but now is the Renaissance.”) Someone compared this to the cloud in Poul Anderson’s Brain Wave: you only realize it exists once you’re out of it.

[Mike Glyer] The Three Hundred Thirty-Nine Steps: Before the con, Kevin Standlee paced off the distance between facilities and published his findings: it is 968 “Standlees” from where I stayed in the Parc 55 Hotel to the door of the Moscone Convention Center, much of it along San Francisco’s Market Street; the daily run past throngs of homeless beggars, alcoholics and others scuffling to survive made a powerful impression on fans.

Two emotional responses were alloyed together, one of pity for the people’s desperate condition, the other of wariness for danger on the streets. In a four-block walk to the Moscone a person could see forty people camping inside doorways and construction scaffolding, be asked for money three or four times, and see several men sprawled on the sidewalk and know from their beet-red, dirty faces that they were passed-out drunk.

Eric Watts summed up the experience when he wrote, “The oddest feeling I had during ConFrancisco was when I was dining at the Parc’s Veranda restaurant with friends I hadn’t seen in several years, treating myself to what was, for me, a very expensive meal. We were seated next to the plate glass window, through which we all could see a homeless person lying under a blanket on the sidewalk against a building across the street. Another man walked past him, stopped and turned around, scouted the area briefly, bent over and took a box of food that apparently belonged to the vagrant, walked a few feet down the sidewalk and proceeded to eat whatever was inside. Everyone seated at my dinner table saw the incident, and we were all left speechless, silently outraged at the crime and silently disgusted at the sight of poverty, hunger and homelessness while we dined on fancy entrees with fine wine and cloth napkins. It was an uncomfortable and awkward moment.”

There was something to dislike about the neighborhood of the Moscone because of all the signs triggering a watchfulness for danger, whether or not danger was immediately present. I said so and some blamed me for anti-homeless bigotry. On the other hand I was aware of the following story.

When Robbie Cantor turned up on the first day of the con with three broken ribs, two black eyes and other bruises it wasn’t from a fall down a flight of stairs, as people were told at the time. Robbie, commenting that she violated her own rule, went unescorted at 1:30 a.m. from the Moscone to the ANA Hotel. She was accosted by a street person who hit her across the face with a plastic bag full of something, and they wound up in a street fight. In an exhausted standoff, they retreated toward the ANA. Robbie went inside and the assailant took off before police arrived. In the end, a police artist made a sketch of him from Robbie’s description for distribution to officers.

Robbie, part of ConFrancisco’s operations staff, reports that during the con members suffered three wallet or purse snatchings and another less severe mugging. Kurt Siegel pointed out that the number of crime incidents were lower than those he heard about at a computer-related symposium he attended in New York last February. But more fans were victims of crime, including violent crime, during this Worldcon than any other I know about, most of which never had any reports of street attacks and robberies.

Day-to-day encounters with street people profoundly influenced people’s experience of ConFrancisco, although some fans, like Eve Ackerman, managed to handle them cheerfully: “My favorite was the man selling newspapers produced by the homeless. He asked my husband to buy one as we walked to Union Square. ‘No thanks,’ Howard said and we kept walking. ‘How about one for your lovely daughter then,’ he yelled out. I did a 180, gave him a dollar and took a paper. I admire free enterprise.”

[Robert Sacks] Opening Ceremonies (from The Norton Reader #2) After a long wait on a line stretching three times around the Moscone South Lobby, the audience was allowed into the Esplanade Ballroom to wait.

At 8:52 the Opening Ceremonies finally began with a video and the song “I Left My Heart in San Francisco.” With ‘fog’ rising in the background, a model of the Golden Gate Bridge was rolled on stage and lit up. The crowd was easily pleased.

The audience was invited to give a big California welcome to the many worlds of fandom. After some musical numbers, the MagiCon Chair, Joe Siclari, was called upon to pass over the gavel, a golf club from MagiCon’s miniature golf course, to ConFrancisco chair Dave Clark; in addition he presented a chairman’s badge, estimated to have ribbons at least 6 feet long, in the Chair’s favorite colors, dalmatian.

Breaking ConFrancisco’s gavel, a loaf of sourdough bread, the Chair declared the convention off and running.

The several honored guests were interviewed on video. Toastmaster/Master of Ceremonies Guy Gavriel Kay introduced His Imperial Majesty Norton I, who entered and evicted Chairman Clark from the central chair of honor. The Toastmaster gave a brief history of the bid and convention, and announced the special guests from the Czech Republic. Larry Niven stated he was greatly honored and questioned why it took so long. Alicia Austin explained how she enjoyed people enjoying her artwork. Tom Digby, a suspected alien lifeform, blew soap bubbles. Wombat, jan howard finder, promoted backrubs. Mark Twain [‘channeled’ by Jon DeCles] talked about spending the coldest winter of his life one summer in San Francisco.

Senator Barbara Boxer’s letter of greeting was read; the President of the San Francisco Public Library Commission read Mayor Jordan’s proclamation of Sunday, the fifth of September, as World Science Fiction Day in San Francisco. H.I.M.’s reception was announced for Friday night. After the ConFrancisco anthem was sung to kazoo music provided by the LA Filkharmonic, Emperor Norton ordered the attendees to go forth and have a great time at ConFrancisco.

Peggy Ranson (1948-2016)

Peggy Ranson. Photo by Vincent Mariano.

Peggy Ranson. Photo by Vincent Mariano.

Peggy Ranson, a very popular fanartist in the 1990s, passed away March 16 from cancer. The family’s obituary is here.

She grew up in Memphis, and attended Memphis State University. While living in New Orleans she worked as a commercial artist for D.H. Holmes and the Times Picayune.

Ranson was employed as an ad illustrator when she volunteered to help with the 1988 New Orleans Worldcon. Guy H. Lillian III remembers, “She co-edited the Nolacon II program book with me, did scads of inimitable and exquisite fan art, and graced every moment we spent with her.” Lillian writes that this piece was her first fan art.

23ranson

She was an L. Ron Hubbard Illustrator of the Future contest finalist in 1990, and attended the awards ceremonies (see photo).

Illustrator of the Future 1990. Peggy Ranson is fourth from right. (Kelly Freas is fourth from left.)

Illustrator of the Future 1990. Peggy Ranson is fourth from right. (Kelly Freas is fourth from left.)

Ranson was a Best Fan Artist Hugo nominee every year from 1991-1998, winning in 1993. Lillian liked to say she was only the second fan from Louisiana (adopted) to win a Hugo (the first was Camille Cazedessus, publisher of ERB-dom.)

Peggy Ranson with HugoShe did countless pieces of art for conventions, bids, and fanzines, and for charitable publications like the Charlie Card Fund’s 1991 Fantasy Art Calendar. Her work won Best in Show at the 1991 Worldcon art show (Chicon V).

There’s a small gallery of her black-and-white art at Fanac.org.

Ranson cover for Challenger

Ranson was a guest of honor at DeepSouthCon 34 in 1996, and Armadillocon 20 in 1998, and other small cons across the South.

When Hurricane Katrina struck New Orleans in 2005 she fled to Memphis. Afterwards she wrote a long account of her escape and what it was like to return to the heavily damaged city in Challenger 23.

maureen_origAlthough she did some cover art for professional publications, she does not seem to have pursued that as a vocation, for many of her assignments were for books by writers or small press publisers she knew well. This includes her covers for The NESFA Index to Short Science Fiction for 1989 (1992), Maureen Birnbaum, Barbarian Swordperson: The Complete Stories (1993) a paperback of George Alec Effinger stories from Swan Press, Girls for the Slime God (1997) a collection of stories edited by Mike Resnick, and Birthright: The Book of Man (1997) by Mike Resnick. She also did interiors for magazines, including Algis Budrys’ Tomorrow Speculative Fiction.

Ranson is survived by a sister and two brothers (one of them her twin), and several nieces and nephews.

Jeff Canfield (1958-2014)

Jeff Canfield

Jeff Canfield

Long-time fan Jeff Canfield died April 9 at the age of 55.

Canfield became a well-known Northern California con runner in the 1990s. He chaired Sacramento’s unsuccessful bid for the 1991 Westercon, in the process drawing Kevin Standlee into convention running — surely a fanhistorical contribution in its own right.

Canfield, Standlee and other members of the Sacramento Westercon bid were soon recruited onto the San Francisco in 1993 Worldcon bid committee. This time they were victorious and Canfield served as one of ConFrancisco’s deputy vice chairs.

It is also believed he produced the ConFrancisco Souvenir Book, based on this bit of detective work by the editors of the Internet Science Fiction Data Base:

There is not a title page per se. The title is taken from the copyright statement. The editor is listed as “Dr. Evil” in convention staff list. Jeff Canfield is listed as the “Speaker to Doctor Evil” and thus is assumed to be the name behind the pseudonym.

Besides sf, his other activities included Formula Vee racing and photography. He drove a Formula Vee Viper race car and was an integral member of the San Francisco region of the Sports Car Club of America. He founded Jeff Canfield Photography.

Professionally, Canfield worked as a System Software Specialist at State Compensation Insurance Fund for 25 years.

A memorial is being planned in June. People are invited to make donations in his name to the Chabot Space & Science Center in Oakland, CA.

The obituary that originally ran in the Sacramento Bee can be read here.

Emperor Norton — The Musical!

Poster for Emperor Norton The Musical

Poster for Emperor Norton The Musical

The Emperor Norton, who graced the 1993 Worldcon with his regal presence as a time-traveling guest of honor, now has inspired Emperor Norton The Musical. It’s coming to Zombie Joe’s Underground Theater in North Hollywood on November 7 after three successful runs in San Francisco.

 The full press release follows the jump.

 [Thanks to Laurraine Tutihasi for the story.]

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Footnote to Fanhistory

Before Mapquest, fans depended on Kevin Standlee’s feet.

In 1993, people going to the Worldcon wanted to know how far their hotels were from the Moscone Center. The ConFrancisco committee told them how many blocks, told them how many linear feet, and still had to admit “neither measurements have satisfied many people.”

Having made the admission, Kevin Standlee realized the only other thing he could do was personally pace off routes from the hotels to the Moscone entrance. He counted his steps and published the results under the title “ConFrancisco – Step by Step.” Fandom learned, for example, that the Parc 55 was 968 Standlees from the convention center, a Standlee being the length of a stride by a man 6’3″ tall, or about a meter. The Standlee became part of the fannish lexicon, and Leah Zeldes Smith wrote that the term deserved to be in the next Fancyclopedia.

Not very many fans have been immortalized by having their names attached to a unit of measurement. Two others I can name off the top of my head are both NESFAns.

According to the NESFA Bureau of Standards, a “Drew” is “the unit of displacement needed to move Drew Whyte from Boston to Cambridge.” Volunteers from the club, er, I mean the NESFA Displacement Authority, required five trucks about 20 feet long, packed absurdly tightly, to shift all or Drew’s stuff to his new home.

Another time, Mark Olson told a NESFA business meeting that new bookshelf extensions had been installed and in the process people had coined a new measurement — “the Paula.” The new shelves were three Paulas high.

You would expect such ideas to appeal to NESFAns, having the example before them of MIT’s Oliver Smoot, a fraternity member who was laid end to end (wasn’t that every frat boy’s dream in 1963?) to measure the length of the Mass. Ave. bridge. Today, Google Earth allows users the option of measuring distances in Smoots. And, of course, the image of Smoot on the Mass. Ave. bridge was celebrated at the Noreascon 4 Opening Ceremonies.