The situation is made even stickier because the April 15 deadline for filing to be on the Westercon site selection ballot has passed and cannot be extended under the Westercon Bylaws. However, Kevin Standlee, Westercon 73 Business Meeting Chair, explained in a post at Westercon.org it is still possible for groups interested in hosting Westercon 75 to file as a write-in bid up to the close of voting at Loscon – which will be open only on Friday, November 26, 2021, and is scheduled to close at 8 p.m. Pacific Time on that day. So no bids will be listed on the ballot, but write-in bids will be allowed. Standlee describes the process in full here.
Should no bid be selected through the site selection voting process, the Westercon Business Meeting can select a site by a three-fourths vote. If they don’t, it’s then up to the LASFS Board of Directors to select a site.
Standlee’s condensed version of these options is:
Site Selection will continue with write-in bids only.
Site Selection voting will be on Friday only, but will stay open later than usual (8 p.m.)
Any group that files the usual paperwork is eligible to win as a write-in.
If no eligible group wins, then the Business Meeting on Saturday (time TBA) can select a site.
If the Business Meeting cannot decide, then LASFS decides.
With sadness, CASFS and WesternSFA are officially withdrawing our bid to host Westercon 75 in Tempe, AZ in 2023.
This is because of the ongoing effects of the COVID pandemic. While we expect that the country as a whole and the southwest in particular will be much more open in 2023 than it is today, that expectation has sadly not translated into support for Westercon 75 thus far and choosing to continue at this point would put both our sponsoring bodies at serious risk. We cannot survive on local fans alone. We also need regional fans to be ready to travel again and it’s clear that they’re not comfortable doing that yet.
The prudent option, which was taken unanimously by our committee and both our sponsoring bodies, is to withdraw at this time but to ready a future bid for a time when the wider community is hopefully ready to return to a physical Westercon.
Our current plan is to submit an equivalent bid to host Westercon 77 in Tempe in 2025, once we’ve agreed a contract with our hotel in mid-2022.
Kevin Standlee explained on the Westercon.org that the site selection process for 2023 will be conducted at Loscon 47 in November 2021, because this year’s Westercon was merged into Loscon after the original Westercon 73 committee disbanded and handed the convention over to LASFS, owner of the Westercon service mark.
Standlee also told File 770: “Because Westercon’s deadlines are hard-coded into the Bylaws, we’re not allowed to reopen filing to be on the ballot. Bids can still file, though, and be eligible to win. There will still be an election (at Loscon), but if no eligible bid wins, it will go to the Business Meeting (at Loscon), and if the meeting can’t decide, then as you probably know, LASFS will have to decide.”
… Even one of the better Alternate History works written by a very conservative author, Another Girl, Another Planet by Lou Antonelli, only really works when it avoids history altogether. When it is a big outer space adventure, it’s relatively engaging. But the version of history depicted in the novel involves weird depictions of Barack Obama as a feckless Marxist ideologue; not so much a counterfactual as a motivated smear job….
(2) NETFLIX TRAILER. Sweet Tooth is “a post-apocalyptic fairytale about a hybrid deer-boy and a wandering loner who embark on an extraordinary adventure.” All episodes of Sweet Tooth premiere on June 4, only on Netflix.
(3) #FINISHINFINITYTRAIN TRENDING WORLDWIDE. There’s an avalanche of tweets from people calling for a studio to finish the Infinity Train series.
(4) THREE’S COMPANY. Kevin Standlee has some extended comments about the new Winnipeg bid and the rules governing whether it should appear on the published site selection ballot in “And Then There Were Three” on his Livejournal.
…Speaking theoretically, there are probably only about six cities in Canada that have the facilities to host a Worldcon. Two of them are in the east (Toronto and Montréal), and they’re both within 800 km of DC, which makes them ineligible to file (even as a write-in bid) under WSFS Constitution Section 4.7. (I’ve not looked at Ottawa or Quebec City’s facilities; if they have enough, then there might be eight potential sites rather than six. Also, any city I name includes anything in that city’s general area.) There’s little point in bidding for a site that’s ineligible in all but the most highly-unlikely scenarios — even more unlikely than the combination of circumstances that crashed the site selection at the 2011 Westercon, because Westercon’s rules are subtly different from Worldcon’s, and anyway, it seems unlikely to me that the existing bids would drive away so many supporters that None of the Above would win.
There are two plausible sites in western Canada (Vancouver and Calgary), but they have a somewhat less obvious political flaw, in that they’re less than 800 km from Seattle, which is bidding for 2025, The 2025 Worldcon will be selected at the 2023 Worldcon. A Worldcon selected for one of those cities would automatically disqualify Seattle’s bid. Bidding is hard enough without borrowing trouble by creating a group (Seattle’s supporters) that automatically would be biased against voting for you.
That leaves only two significant sites: Edmonton and Winnipeg. CanSMOF selected Winnipeg’s proposal, but I’m sure that Edmonton (and Calgary, and Vancouver) would make good places for a Worldcon someday….
…“[Harlan] had such an incredible collection of fantastic paintings,” Barker says on a new episode of Post Mortem with Mick Garris. “They were classics—covers of Weird Tales and all that wonderful ’30s, ’40s, and ’50s stuff.”
Garris recalls his own visit to “Ellison Wonderland” just as fondly. He didn’t, however, get a look inside Ellison’s bomb shelter, as Barker did when he was there. (“I do know that you had to go through a hobbit door to get into it,” Garris says.)
“Behind [the door] was a locked room which he said would survive three atom bombs,” Barker says. “This is all very Harlan, right? Maybe if that’s true, then you’re just saying ‘Hello’ to the cockroaches when you get out! But it was an incredible room, because in there, he had the books that he’d collected over the years that he would want to survive the apocalypse. I don’t have a bomb-proof room, but I’ve got those books, too—the books that I feel bespeak our culture.”
…A self-described avid budgeter, Mason currently spends about $120 per month on 11 subscriptions, from streaming services to Substacks and artist Patreon accounts — up from last year’s average of $94 per month.
Quarantine and the demise of digital media were driving factors in Mason’s decision to support more independent artists and writers. The pandemic is partly responsible for facilitating a subscription boom over the past year, but it’s also contributed to the growth of the creator economy, as more people make things from home. “I’m 32 with no kids, no student loans, and no plans to buy a house again,” Mason, the editorial director for the New York Times’s Games team, said. “I’m very much someone who will pay an artist for a thing that they’ve made.”
The monthly $5, $10, and $15 credit-line charges add up, though. When the subscription business model was pioneered by news publishers in the 17th century, there was little competition. Within the past two decades, all sorts of businesses have begun clamoring for a slice of the subscriber pie, from consumer product startups and retailers like Dollar Shave Club to media organizations and internet personalities.
A few major players have become so integral to people’s buying or streaming patterns, like Netflix or Amazon Prime, that consumers approach them almost as a sort of utility….
(7) MEDIA BIRTHDAY.
April 29, 2005 –On this day in 2005, The Hitchhiker’s Guide to the Galaxy film premiered in the USA after premiering a day earlier in the U.K. it was based loosely off the series by Douglas Adams, and it was directed by Garth Jennings with production by a not insignificant multitude of individuals. The screenplay was credited to Douglas Adams and Karey Kirkpatrick which is a neat trick indeed given that he’d died some years before. It had a rather stellar cast of Martin Freeman, Sam Rockwell, Mos Def, Zooey Deschanel, Bill Nighy, Alan Rickman, Anna Chancellor and John Malkovich. Critics mostly liked it and it scores an excellent sixty five percent rating among audience reviewers at Rotten Tomatoes. It did not figure in the Hugo nominations the following year.
(8) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge and John Hertz.]
Born April 29, 1880 – Lillian Jones. Her one novel I know of is the first (1916) Utopia published in America by a black woman. A century later came Karen Kossie-Chernyshev ed., Recovering “Five Generations Hence” (2013) with the text, annotations, and essays. Here is a note from the Southwestern Historical Quarterly. (Died 1965) [JH]
Born April 29, 1908 — Jack Williamson. I’ll frankly admit that he’s one of those authors that I know I’ve read a fair amount by can’t really recall any specific titles as I didn’t collect him either in hard copy or digitally. A quick bit of research suggests the Legion of Space series was what I liked best when I was reading him. What did y’all like by him? (Died 2006.) (CE)
Born April 29, 1924 – Paul S. Newman. A novel and a shorter story; beyond that, or besides, or something, Guinness World Record for most prolific comic-book writer: 4,100 stories, 36,000 pages. Comic-book version of Yellow Submarine. Tom Corbett, Space cadet. (Died 1999) [JH]
Born April 29, 1943 — Russell M. Griffin. Author of but four novels as he died far too young of a heart attack. The Makeshift God, his first novel, I remember that novel as being a rather decent dystopian affair, and Century’s End was even bleaker. He wrote but nine stories. He alas has not made it into the digital realm yet. (Died 1986.) (CE)
Born April 29, 1946 — Humphrey Carpenter. Biographer whose notable output includes J. R. R. Tolkien: A Biography; he also did the editing of The Letters of J. R. R. Tolkien, and is responsible for The Inklings: CS Lewis, JRR Tolkien, Charles Williams and their Friends. He also wrote the engaging Mr. Majeika children’s series which is most decidedly genre. (Died 2005.) (CE)
Born April 29, 1955 — Kate Mulgrew, 66. Captain Kathryn Janeway on Star Trek: Voyager and she’ll be voicing that role again on the animated Star Trek: Prodigy. Other genre roles include voicing Red Claw on Batman: The Animated Series, the recurring role of Jane Lattimer on Warehouse 13 and Clytemnestra in Iphigenia2.0 at the Signature Theatre Company. Finally she voiced Titania in a recurring role on Gargoyles. (CE)
Born April 29, 1956 – Alexander Jablokov, age 65. Six novels, four dozen shorter stories. Contributor to NY Review of SF. John Clute says AJ’s first novel has darkly suave competence, the most recent is exuberantly gonzo. AJ innocently says “In my work, I like good prose, interesting details, and as much humor as I can comfortably fit in.” [JH]
Born April 29, 1960 — Robert J. Sawyer, 61. Hominids which is quite excellent won the Hugo for Best Novel at Torcon 3, and The Terminal Experiment won a Nebula as well. Completing a hat trick, he won a John W. Campbell Memorial Award for Mindscan too. Very impressive. And then there’s the FlashForward series which lasted for thirteen episodes that was based on his novel of that name. Interesting series that ended far too soon. (CE)
Born April 29, 1969 – Julia Knight, age 52. Eight novels, a couple of shorter stories. Has read The Great Gatsby, Gone with the Wind, Tales of the Dying Earth. “When not writing [likes] motorbikes, watching wrestling or rugby…. incapable of being serious for more than five min –” oops. [JH]
Born April 29, 1970 — Uma Thurman, 51. Venus / Rose in The Adventures of Baron Munchausen (Kage’s favorite film alongside Time Bandits), Maid Marian in the Robin Hood film that starred Patrick Bergin which I highly recommend, Poison Ivy in Batman & Robin. (CE)
Born April 29, 1976 – Micol Ostrow, age 45. Five novels, one shorter story for us, also a book (with Steven Brezenoff) classified as nonfiction being The Quotable Slayer i.e. Buffy. Fifty books all told. Earlier, ten years a children’s-book editor. “I live and work in Brooklyn, NY, alongside my Emmy Award – winning husband and our two daughters. It’s pretty much the best.” [JH]
(9) VISIT TO THE COMIC SHOP. [Item by Daniel Dern.] Marvel (and, I presume, DC) are seriously younger-izing some of their characters/stories… I took a pic of the back of the book, because IMHO it’s funnier in context of other titles.
… In a way, every filmmaker is really just playing with moving light and color on surfaces. That’s the whole ball game, a filmic given. But Pixar takes it further, or perhaps just does it more self-consciously and systematically. Its emotionally weighty, computer-generated animated films deploy precisely calibrated color and light to convey narrative and emotion—from the near-total absence of green in WALL-E (until postapocalyptic robots find the last plant on Earth) to the luminous orange marigolds that symbolize Miguel’s trip to the magical Land of the Dead in Coco through the contrast between the cool blue luminosity of the afterlife with the warm, snuggly sepia of New York City in last year’s Soul.
In fact, almost every Pixar movie works within a specific color palette, a story-specific gamut that filmmakers like Feinberg pull from and use to plan the look of each scene, a road map known as the color script. But Coco complicated that process. When its story moves to the Land of the Dead, it cranks up all the dials, colorwise. Those scenes look made out of neon, like a bio-organic version of Tokyo’s Shinjuku District at night. “When it came time to do the color script, it was like, ‘The Land of the Dead has every color. All of it takes place at night, so we can’t use time of day to elicit emotion. There is no weather in the Land of the Dead, so we can’t use weather to elicit emotion.’ Those are three pretty typical things we use to support the story,” Feinberg says….
(11) OCTOTHORPE. In Episode 30 of the Octothorpe podcast “Try to Always Use Chaps in a Gender-Neutral Way”, “John Coxon can’t make a poll, Alison Scott knows the religious forms, and Liz Batty has one more games thing (sorry). We chat about Swancon, DisCon III, FIYAHCON and the Hugo Awards.”
…For his homeschool science fair project, Kaeden [Griffin] tackled one of the most perplexing questions stumping pet owners: “Does your cat’s butthole really touch all the surfaces in your home?”
Kaeden, like many others out there, assumed that if his cat sits on a surface, then their “butthole will also touch said surface,” and to test his hypothesis, he and his mom, Kerry, applied nontoxic lipstick (bright red lipstick, in fact!) to the buttholes of their two well-behaved cats. The cats were then given a series of commands — including sit, wait, lie down, and jump up — and were compensated with praise and treats. The lipstick was removed with a baby wipe once they collected the necessary data, which took place in less than 10 minutes….
The New York Police Department has canceled its trial of a robot dog made by US firm Boston Dynamics after receiving fierce criticism regarding the “dystopian” technology.
“The contract has been terminated and the dog will be returned,” a spokesperson for the NYPD toldthe New York Post. John Miller, the department’s deputy commissioner for intelligence and counterterrorism, told The New York Times that the machine was “a casualty of politics, bad information and cheap sound bytes.” Said Miller: “People had figured out the catchphrases and the language to somehow make this evil.”
The NYPD began leasing the machine nicknamed Digidog last year. “This dog is going to save lives, protect people, and protect officers and that’s our goal,” said the NYPD’s Frank Digiacomo in an interview with ABC7. The robot was deployed roughly half a dozen times during its tenure, mostly acting as a mobile camera in potentially hostile environments…
A neutrino-spotting telescope beneath the frozen Lake Baikal in Russia is close to delivering scientific results after four decades of setbacks. A glass orb, the size of a beach ball, plops into a hole in the ice and descends on a metal cable toward the bottom of the world’s deepest lake.
Then another, and another. These light-detecting orbs come to rest suspended in the pitch-dark depths down as far as 4,000 feet below the surface. The cable carrying them holds 36 such orbs, spaced 50 feet apart. There are 64 such cables, held in place by anchors and buoys, two miles off the southern coast of this lake in Siberia with a bottom that is more than a mile down.
This is a telescope, the largest of its kind in the Northern Hemisphere, built to explore black holes, distant galaxies and the remnants of exploded stars. It does so by searching for neutrinos, cosmic particles so tiny that many trillions pass through each of us every second. If only we could learn to read the messages they bear, scientists believe, we could chart the universe, and its history, in ways we cannot yet fully fathom.
“You should never miss the chance to ask nature any question,” said Grigori V. Domogatski, 80, a Russian physicist who has led the quest to build this underwater telescope for 40 years. After a pause, he added: “You never know what answer you will get.” It is still under construction, but the telescope that Dr. Domogatski and other scientists have long dreamed of is closer than ever to delivering results. This hunt for neutrinos from the far reaches of the cosmos, spanning eras in geopolitics and in astrophysics, sheds light on how Russia has managed to preserve some of the scientific prowess that characterised the Soviet Union.
The Lake Baikal venture is not the only effort to hunt for neutrinos in the world’s most remote places. Dozens of instruments seek the particles in specialised laboratories all over the planet. But the new Russian project will be an important complement to the work of IceCube, the world’s largest neutrino telescope, an American-led, $279 million project that encompasses about a quarter of a cubic mile of ice in Antarctica….
… “Today, in order to deploy three packages at one time, companies would have to buy or lease three drones,” Plümmer said. “Price-wise, you’re not going to want to have three of them when you can have one. And no one wants thousands of drones flying above their heads.”
The start-up’s new device is central to its broader vision of providing drones to firms seeking ways to distribute hot meals, groceries, medical supplies or other lightweight goods. It was created to “power logistical highways in the sky,” Plümmer said.
The company says the eight-rotor air vehicle is capable of level-four autonomy, which means it is mostly autonomous but requires a human for some tasks.
It has a 5.8-foot wingspan and measures under 4.5 feet from nose to tail….
Per the paper, this incident was probably the first major volcanic eruption witnessed by people in northern Europe since the end of the last Ice Age more than 10,000 years prior. The explosion covered about 90 square miles of fertile land in volcanic rock.
“[T]he impacts of this eruption must have been unsettling, posing existential challenges for Iceland’s newly arrived settlers,” write the authors in the study.
According to Owen Jarus of Live Science, the Vikings entered the newly formed cave soon after the lava cooled. They constructed the boat structure, placing ritual offerings inside and burning the bones of animals, including sheep, goats, cattle, horses and pigs. Historical records show that the Vikings associated the cave with Surtr, a giant responsible for battling the gods during Ragnarök and bringing about the end of the world in Norse mythology….
(17) BOOK TRAILER. An appetizer to get you interested in Einstein – The Fantastic Journey of a Mouse Through Time and Space by Torben Kuhlmann. More about the book as well as a sneak peek here.
Time is relative! Award-winning, illustrator Torben Kuhlmann’s brilliant new book bends time and imagination! When an inventive mouse misses the biggest cheese festival the world has ever seen, he’s determined to turn back the clock. But what is time, and can it be influenced? With the help of a mouse clockmaker, a lot of inventiveness, and the notes of a certain famous Swiss physicist he succeeds in traveling back in time. But when he misses his goal by eighty years, the only one who can help is an employee of the Swiss Patent Office, who turned our concept of space and time upside down….
Suppose Albert Einstein’s famous theories first came into being through an encounter with a little mouse.
[Thanks to Rob Thornton, Mike Kennedy, JJ, Martin Morse Wooster, N., Hampus Eckerman, Daniel Dern, Andrew Porter, Cat Eldridge, John Hertz, James Davis Nicoll, Olav Rokne, Michael Toman, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day Andrew (not Werdna).]
As previously announced, the filing deadline for bidding for the 2023 Worldcon was February 26, 2021. We have examined Winnipeg’s filing documents and found them to be complete. Using our discretion as the administering convention, we have decided to include Winnipeg on the Site Selection ballot and to include them in any ongoing discussions with the other bidders.
As for the voting fee that will be charged for 2023 site selection memberships, the Winnipeg bid has accepted the voting fee previously agreed between the two other bids that filed by the deadline – Chengdu, China, and Memphis, USA.
The Westercon 73 committee announced today they have abandoned plans to hold the convention which had been scheduled for July 1-4 in Sea-Tac, Washington. Kevin Standlee explained on the official Westercon website that the Los Angeles Science Fantasy Society, owner of the Westercon service mark, will help the Seattle committee wind up its responsibilities:
They are working with LASFS, owner of the Westercon service mark, to implement Section 1.9 of the Westercon Bylaws regarding a Westercon committee failure. Loscon 47, scheduled for November 26-28, 2021 at the Marriott Los Angeles Airport Hotel, will assume the mantle of Westercon 73, and has said that they will honor the memberships, both attending and supporting, of those members of Westercon 73 who do not request a refund from the Seattle committee. The 2021 Westercon Business Meeting will thus be held at Loscon 47, as will be the election to choose the site of the 2023 Westercon (Westercon 75).
Although the Seattle and Tonopah Westercon 73 and 74 committees creatively agreed last May to postpone their cons by a year to accommodate the state of Washington’s COVID-19 restrictions on large group events, with the passage of time the Seattle committee has suffered from attrition, and they did not feel they had the resources to do a virtual event.
…Even though we were not at full staff we were doing pretty good and then Covid hit in March 2020, and the world stopped.
After waiting and watching it came to the point that we would not be having the con and working with Westercon 74 and our hotel we were able to shift the cons to the following years. So, we shifted and the longer this has gone on we started losing staff and panelist and in the last several months we have lost our chairman and I had to take over. Within the last couple months, we have talked about going virtual, but when I look back, we don’t have the pro’s or the staff to do a virtual convention. So, after talking to other convention runners and gathering opinions on the best course of action, it was decided that we will be shutting down Westercon 73 in Seattle as of now.
Westercon 73 members have these options:
We are offering partial refunds to those who paid more than $35 for their memberships (but would be grateful if you would consider donating it instead). Please contact Westercon 73 for assistance.
Those attending members who do not request a refund will have their memberships honored by Loscon 47, to be held Thanksgiving Weekend (November 26-28) in Los Angeles.
As for those with supporting memberships —
Since you have a paid membership with voting rights for Westercon 75 we will be working with Los Angeles Science Fantasy Society to make sure you will be getting your right to vote, unless you just want a full refund.
(1) LEND A HAND? Another Titan Comics blog tour will be rolling through on Monday. Would one of you volunteer to write a review of a comic by tomorrow night? I’d be thrilled, and so would Titan Comics. (Email me at mikeglyer (at) cs (dot) com and I will send you a link to the PDF.)
(2) WISCON SAYS SUPPORT THEIR HOTEL. [Item by Jeffrey Smith.] This is different. The convention hotel saying: No convention this year? Come and hang out anyway! The SF3/WisCon Newsletter encourages readers to “Spend Memorial Day weekend at the Concourse Hotel”.
As you know, we’re not able to hold a WisCon in Madison this spring. However! The Concourse Hotel, the longtime home of WisCon, is running a special promotion for members and friends of the WisCon community over Memorial Day weekend, May 27-31, 2021
… The Concourse hosted its first WisCon in 1984 and has been our full-time hotel partner since 1995. They are an independently owned and operated hotel and as such have been hit especially hard by the loss of business during the pandemic. This is a fantastic chance to support them, get away from home for the weekend and see some friends in a clean, well-ventilated, socially distant environment….
(3) BOTH SIDES NOW. Lincoln Michel is writing an interesting series about the different genre and literary ecosystems for his Counter Craft newsletter. Here are links to the first three posts.
… I’m NOT going to try and delineate the (various and conflicting) definitions of “genre” and “literary” here. I do plan to get into that in some future newsletter but for now when I refer to the “literary world” I’m speaking of what you’d expect: MFA programs, magazines like The Paris Review or Ploughshares, imprints like Riverhead or FSG, agents who list “literary fiction” on their websites, etc.
When I say “genre world” I’m focusing mostly on science fiction, fantasy, and horror fiction (plus the one hundred billion subgenres of those). Those are the genres I write in and am most familiar with. Obviously, there are other genre ecosystems: crime fiction, romance fiction, etc. Those tend to overlap a fair amount with SFF world, and also tend to function similarly in terms of how professional organizations operate, how awards are structured, and so on. But when I speak of something like “genre jargon” I’m pulling primarily from SFF. I don’t think I need to define SFF, beyond saying that acronym means “science fiction and fantasy.” You know it. Magazines like Lightspeed and Uncanny. Imprints like Orbit, Del Rey, and Tor.
Because genre vs. literary fiction is so often treated like a team sport where you pick a side and scream insults at the other one, I want to state up front that I root for both. Or perhaps play for both, in this metaphor. I’ve published in both “literary” magazines like The Paris Review and Granta as well as “genre” magazines like Lightspeed (forthcoming) and Strange Horizons. My story collection was published by the literary Coffee House Press and my science fiction novel is coming out this year from Orbit. I really love both “teams” here….
…Popular authors also tend to contend over and over. This can easily be seen by the list of multiple winners. Many SFF writers have won the Hugo for Best Novel multiple times. You have 6/12 (wins/nominations) for Heinlein and 4/10 for Bujold. Five different authors have won three times and nine have won twice. There is nothing like that in the Pulitzer. No author has won three, four, or six Pulitzers. Only four have won twice: Booth Tarkington, William Faulkner, John Updike, and Colson Whitehead. This is despite the fact that the Pulitzers have been around since 1918 and the Hugos only since 1953. (This pattern is a little less prominent in other, newer awards, but still there.)
It’s fair to note that SFF perhaps has a smaller pool of books to choose from, since at least theoretically the literary awards are drawn from all of literature. But if the literary world is as narrow and parochial as many SFF fans contend then you’d expect to see that in the rewards.
As with almost everything I discuss here, there are arguments for both ways of doing things. In the genre side, the titans of the genre can be adequately reflected in the awards. A monumental work like N.K. Jemisin’s Broken Earth trilogy—truly one of the best fantasy series of modern times, which I’ve written about a bit here before—can even win three times in a row . That would simply never happen in the literary world, no matter how deserving. And one could certainly argue that the awards more accurately reflect the tastes of readership.
This can be a downside too, since biases and prejudices are also reflected. Before N.K. Jemisin won in 2016, no black author had ever won the Hugo for best novel. If you had died before 2015, when Cixin Liu won, you would have never witnessed a POC win the Hugo. It was hardly perfect in the lit world, but you did have Ralph Ellison, Alice Walker, Toni Morrison, Ha Jin, Jesmyn Ward, Junot Díaz, Jhumpa Lahiri, and others winning NBAs and Pulitzers. It’s about the same for gender. Ursula K. Le Guin was the first woman to win a Hugo for Best Novel in 1970. (Ditto the Nebula, although that had only started in 1966.) By that time, dozens of women had won the Pulitzer and/or National Book Award.
All of that said, both the lit world and SFF world have been far better on the diversity front in the last five to ten years than they have been historically. Hopefully that will continue.
… Publishing runs on novels. At least when it comes to fiction, novels are what agents want to hear about, what editors want to look at, and—with a few exceptions—what readers want to buy. Perhaps because of this, short stories hold a special place in fiction writers’ hearts. The short story is our form. Our weird mysterious little monster that no one else can love.
Strangely, the opposite was true 100 years ago. For the first few decades of the 20th-century, the short story was the popular form of literature. It was a magazine world back then. Short stories were what paid the bills. Authors like F. Scott Fitzgerald felt forced to write short stories that they could afford to write “decent books” (novels) on the side! In the genre world, the short story was so dominant that even the “novels” were often a bunch of existing short stories stitched quickly together in what was known as a “fix-up.” I’m not talking obscure books here, but some of the pillars of SFF from that era: Bradbury’s The Martian Chronicles, Asimov’s I, Robot, and Simak’s City. Also several of Raymond Chandler’s best hardboiled novels over in crime fiction. (Here’s a good post by Charlie Jane Anders arguing the fix-up is the ideal form for SFF.)…
…You may be asking, “So what? All the bids we knew about have already filed, so what difference does it make?”
I contend that there are two reasons for being concerned about this. The first is that frankly, there are groups that are unhappy about both the bids on the ballot, for various reasons. A “sprint” bid might enter the field. Now even though I have agreed to run Memphis’ WSFS division should they win, I’m trying to be as fair as I can about the known deficiencies of all currently filed bids. In 1990, I was a member of the San Francisco in ’93 Worldcon bid committee, facing filed bids from Phoenix and Zagreb. Due to unimpressive performances from all three filed bids at the 1989 SMOFCon (the filing deadline at that time was the close of the previous Worldcon, and sites were selected three years in advance at that time), a heretofore hoax bid for Hawaii was pressed into service by a large number of SMOFs and a write-in bid for Hawaii in ’93 filed. The write-in bid placed second ahead of the Zagreb and Phoenix bids, and I rather expect that had they been on the ballot, they might have beaten San Francisco. In 1991-92, I wrote and was a co-sponsor of a change to WSFS rules that changed the filing deadline to 180 days before the convention, a rule that, had it been in effect for the 1990 election for the 1993 Worldcon, would have allowed Hawaii to be on the ballot. So even though it would have been used against me back then, I recognize the value in keeping the door open for “sprint” bids. If there are groups that still want to take a shot at the 2023 Worldcon, I think they should have a chance to file until the T-180 deadline that is written into the Constitution.
The second reason I think DisCon III should reopen filing, even if nobody else files, is philosophical. WSFS rules are not self-enforcing. We trust Worldcon committees to follow WSFS rules as much as they can, subject to local laws and other contingencies. There is no higher authority that can force a Worldcon committee to obey WSFS rules. There’s no WSFS Inc. that can step in and give orders. There is no appeal from a Worldcon committee’s decisions. A Worldcon committee that refuses to follow a clearly-written and unambiguous rule that would not be difficult to follow is telling us that no rule is safe. WSFS governance is based on trust. If we can’t trust a committee to follow the rules, then the unwritten contract between the members of WSFS and the Worldcon committee that manages the members’ annual convention breaks down….
… I think DisCon III should change their initial decision and reopen site selection filing until June 18, even if no other bid surfaces, to confirm that insofar as they are able to do so, even under the difficulties of a worldwide pandemic, they will continue to obey the rules of the organization whose membership is the World Science Fiction Society. To do otherwise is to do a disservice to the members of WSFS….
… Now a special innovation team and a group of nearly 300 newsroom employees are pushing for drastic changes at the paper, which has been part of Rupert Murdoch’s media empire since 2007….
… As the team was completing a report on its findings last summer, Mr. [Matt] Murray [WSJ Editor] found himself staring down a newsroom revolt. Soon after the killing of George Floyd, staff members created a private Slack channel called “Newsroomies,” where they discussed how The Journal, in their view, was behind on major stories of the day, including the social justice movement growing in the aftermath of Mr. Floyd’s death. Participants also complained that The Journal’s digital presence was not robust enough, and that its conservative opinion department had published essays that did not meet standards applied to the reporting staff. The tensions and challenges are similar to what leaders of other news organizations, including The Times, have heard from their staffs.
In July, Mr. Murray received a draft from Ms. [Louise] Story’s team, a 209-page blueprint on how The Journal should remake itself called The Content Review. It noted that “in the past five years, we have had six quarters where we lost more subscribers than we gained,” and said addressing its slow-growing audience called for significant changes in everything from the paper’s social media strategy to the subjects it deemed newsworthy.
The report argued that the paper should attract new readers — specifically, women, people of color and younger professionals — by focusing more on topics such as climate change and income inequality. Among its suggestions: “We also strongly recommend putting muscle behind efforts to feature more women and people of color in all of our stories.”
The Content Review has not been formally shared with the newsroom and its recommendations have not been put into effect, but it is influencing how people work: An impasse over the report has led to a divided newsroom, according to interviews with 25 current and former staff members. The company, they say, has avoided making the proposed changes because a brewing power struggle between Mr. Murray and the newpublisher, Almar Latour, has contributed to a stalemate that threatens the future of The Journal.
…About a month after the report was submitted, Ms. Story’s strategy team was concerned that its work might never see the light of day, three people with knowledge of the matter said, and a draft was leaked to one of The Journal’s own media reporters, Jeffrey Trachtenberg. He filed a detailed article on it late last summer.
But the first glimpse that outside readers, and most of the staff, got of the document wasn’t in The Journal. In October, a pared-down version of The Content Review was leaked to BuzzFeed News, which included a link to the document as a sideways scan. (Staffers, eager to read the report, had to turn their heads 90 degrees.)…
(6) THE POWER OF ANTHOLOGIES. Featuring Linda D. Addison (Sycorax’s Daughters), Maurice Broaddus (POC Destroy Horror & Dark Faith), and Sheree Renée Thomas (Dark Matter), and moderated by author and editor Nisi Shawl (New Suns, Everfair, Stories for Chip: A Tribute to Samuel R. Delany), “Ancestors and Anthologies: New Worlds in Chorus” is a free livestream panel hosted by Clarion West and the Seattle Public Library on Monday, April 12 at 6:30 p.m. Register at the link. It’s part of the “Beyond Afrofuturism: Black Editors and Publishers in Speculative Fiction” Panel Series.
From the groundbreaking Dark Matter to Sycorax’s Daughters to POC Destroy!, anthologies are one way marginalized voices gather in chorus on a particular subject, subgenre, or genre. Our anthologies panel will delve into the world of bespoke collections with luminaries in the field.
… What took so long? 1) It is a daunting thing when a loved one dies to be responsible for the accumulations of a lifetime. 2) We’re book people! Letting go of books is painful. A bookcase is a record of time spent and history and books are harder to find good homes for than one might think. 3) Her particular status as beloved author made every decision weighted.
(8) STANISLAW LEM CENTENNIAL DEBATE. On April 18, Polish Society for Futures Studies (PSFS) will present a live online debate “The expansion of future consciousness through the practice of science fiction and futures studies,” celebrating the Stanis?aw Lem centenary. Lem was a celebrated science-fiction writer and futurologist from Poland. The Centennial Debate will feature international participants: Thomas Lombardo, professor emeritus of Rio Salado College and author of books on science-fiction and future consciousness; Karlheinz Steinmüller, PhD, science fiction author, publisher and eminent German futurist; Kacper Nosarzewski, futurist from Poland and a literary critic.
The event will be streamed live on Zoom and YouTube, April 18th 12:00 am Pacific Standard Time, 3:00 pm Eastern Standard Time, 20:00 Central European Time, and the admittance is free. More information including links to the event will be posted at https://centennialdebate.ptsp.pl/.
The event is being supported by the World Futures Studies Federation, Association of Professional Futurists and Lem Estate, among many others.
Stanis?aw Lem wrote, in Solaris: “We don’t want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos.” The Centennial Debate will explore the practice of science-fiction and futures studies as different ways of “using the future” and increasing our understanding of humanity’s hopes, fears, prospects and predicaments.
(9) MEMORY LANE.
On a day in 1986 Star Trek IV: The Voyage Home premiered. It was directed by Leonard Nimoy who wrote it with Harve Bennett. It was produced by Steve Meerson, Peter Krikes, Nicholas Meyer and Harve Bennett. It starred the entire original original Trek cast. It would lose out to Aliens at Conspiracy ’87. The film’s less-than-serious attitude and rather unconventional story were well liked by critics and fans of the original series along with the general public. It was also a box office success. And it has an exemplary eighty-one percent rating among audience reviewers at Rotten Tomatoes.
(10) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge and John Hertz.]
Born April 10, 1936 – David Hardy, age 85. Astronomical and SF artist. European Vice President of the Int’l Ass’n of Astronomical Artists. Artbooks e.g. Visions of Space; Hardyware; 50 Years in Space: what we thought then, what we know now. Two hundred fifty covers, a hundred interiors. Here is the Jun 74 Amazing. Here is King David’s Spaceship. Here is Understanding Space and Time (note that the piano is a Bösendorfer). Here is the Apr 2010 Analog. [JH]
Born April 10, 1940 — Raul Julia. If we count Sesame Street as genre which it should, his appearance as Rafael there was his first genre role. Yeah, I’m stretching it somewhat. OK, how about as Aram Fingal In Overdrawn at the Memory Bank, a RSL production off the John Varley short story? That better? He later starred in Frankenstein Unbound as Victor Frankenstein as well. His last role released while he was still living was in the superb Addams Family Values as Gomez Addams reprising the role he’d had in The Addams Family. (Died 1994.) (CE)
Born April 10, 1948 – Jim Burns, age 73 (not James H. Burns 1962-2016). Four hundred twenty covers, two hundred interiors. Three Hugos. Twelve BSFA (British SF Ass’n) Awards. Artist Guest of Honour at Conspiracy ’87 the 45th Worldcon, several other more local cons in the U.K. and U.S., see here. Artbooks e.g. Lightship; Transluminal; The Art of Jim Burns. Each in The Durdane Trilogy used a segment of this, e.g. The Asutra. Here is Interzone 11. Here is the Jul 94 Asimov’s. Here is The Wanderer. Here is Dozois’ 34th Year’s Best Science Fiction. Here is Dark Angels Rising. [JH]
Born April 10, 1951 – Ross Pavlac. Co-chaired Marcon XIII-XIV, Windycon VIII, Chicon IV the 40th Worldcon. Fan Guest of Honor at Torque 2. Sometimes appeared in a blue aardvark costume; RP’s fanzine for the apaMyriad was The Avenging Aardvark’s Aerie; RP was one of the first fans to extrude a Website, also so called. Chaired Windycon XXIV from his deathbed. See these appreciations. (Died 1997) [JH]
Born April 10, 1953 — David Langford, 68. And how long have you been reading Ansible? If he’s not noted for that singular enterprise, he should be noted for assisting in producing the second edition of the EoSF, not to mention some 629,000 words as a principal editor of the third (online) edition of the Encyclopedia of SF, and contributed some eighty thousand words of articles to the most excellent EoF as well. And let’s not forget his genre writing as well that earned him a Short Story Hugo at the Millennium Philcon for “Different Kinds of Darkness”. And yes, he has won other Hugos, too numerous to recount here. (CE)
Born April 10, 1955 — Pat Murphy, 66. I think that her most brilliant work is The City, Not Long After which I’ve read myriad times. If you’ve not read this novel, do so now. The Max Merriwell series is excellent and Murphy’s ‘explanation’ of the authorial attributions is fascinating. And The Falling Woman by her is an amazing read as well. She’s reasonably well stocked at the usual suspects. (CE)
Born April 10, 1957 — John M. Ford. Popular at Minicon and other cons where he would be Dr. Mike and give silly answers to questions posed to him while wearing a lab coat before a whiteboard. His most interesting novel I think is The Last Hot Time, an urban fantasy set in Chicago that might have been part of Terri Windling’s Bordertown series but wasn’t. Possibly. The Dragon Waiting is also excellent and his Trek novels are among the best in that area of writing. I’d be lying to say he’s deeply stocked at the usual suspects. (Died 2006.) (CE)
Born April 10, 1959 – Ruth Lichtwardt, age 62. Hugo Adm’r for Anticipation the 67th Worldcon. Chaired MidAmeriCon II the 74th; her reflections as Chair here. Long active with the Gunn Center for the Study of SF; Adm’r for the 2021 Conference. Co-chaired ConQuest 49. Drinks Guinness. [JH]
Born April 10, 1975 – Merrie Haskell, age 46. Three novels, a score of shorter stories, recently in Beneath Ceaseless Skies 313. Interviewed in Lightspeed. Schneider Book Award. “I don’t think I’m unique in finding stories where female agency is non-existent, or is punished, as really troublesome…. I’m not even talking about the waiting-for-rescue parts; I don’t love that, mind you, but where are the choices?” [JH]
Born April 10, 1978 — Hannu Rajaniemi, 43. Author of the Jean le Flambeur series which consists of The Quantum Thief, The Fractal Prince and The Causal Angel. Damn if I can summarize them. They remind me a bit of Alastair Reynolds’ Prefect novels, somewhat of Ian Mcdonald’s Mars novels as well. Layers of weirdness upon weirdness. Quite fascinating. (CE)
Born April 10, 1984 – Rachel Carter, age 37. Three novels for us. Nonfiction in e.g. The New Republic. Teaches fiction-writing, also a freelance editor. [JH]
Born April 10, 1992 — Daisy Ridley, 29. Obviously she played the role of Rey in The Force Awakens, The Last Jedi and The Rise of Skywalker. She was also in Scrawl, a horror film as well as voicing Cotton Rabbit in Peter Rabbit. Though stretching to even call it genre adjacent even, she was Mary Debenham in Murder on the Orient Express which was rather well done. (CE)
…I won’t lie, though: I sure do miss the time when a buck got you two comics and change. But I get how inflation works and how rising paper costs can’t be ignored. I’m also quite aware that the higher cover prices of today’s market have led to creators being able to make a decent living while entertaining us. That benefits the fans, who get to enjoy the great stories that spring from their imaginations.
However, there does come a point where comic books can simply become too expensive for many fans, forcing readers to drop titles not because they don’t like reading them, but because they simply can’t afford to anymore.
We may be approaching that point.
One of the Big Two publishers, DC Comics, is bumping the price up on some of its monthly titles to $5.99 for a 40-page issue. In its solicitations for June releases, several ongoing series, The Joker #4, Superman Red & Blue #3, Wonder Woman: Black White and Gold #1, and one of the company’s flagship books, Batman #109, are all listed with $5.99 cover prices. Think about that for a moment. If someone wanted to read all four of those titles, it would cost about $24 (before tax) to do so. Four comics, $24. That’s a big financial hit….
(12) JONESING. [Item by Mike Kennedy.] “Phoebe Waller-Bridge to star in new Indiana Jones” reports CNN. Let’s hope the 35-year-old Waller-Bridge is not the love interest for the 78-year-old Harrison Ford. She wouldn’t pass the “half+7” rule for another 22 years.
2018 Australian 6-episode series which we HIGHLY recommend both for spy geeks and people that don’t care much about tradecraft but enjoy a solid human drama. Watching these characters unwind and reveal their true characters under the duress of multiple intertwining espionage threats was a real treat for both of us. ALSO!!!! It is our first episode featuring a guest with actual expertise in the field, author and ex-intelligence officer Francis Hamit. Really excited about this one.
Hamit says: “This was a very positive experience for me. Tod and Dave are really nice guys and very ‘Otaku’ for any spy film or television show. Some of those (James Bond, etc) fall into the SF&F genre and they’ve done about fifty so far. Each is an hour long and they usually do two part, one hour each, in depth discussions. I was on as a topic expert on SIGINT.”
One of the puzzlements of “The Nevers,” the new alt-superhero show beginning Sunday on HBO, is the title. The peculiarly gifted late-Victorian Londoners, mostly women, who serve as the show’s heroes (and some of its villains) are never called “nevers”; they’re most often referred to as the Touched. In the first four of the series’s 12 episodes, nothing is called the Nevers. You can understand not calling a show “The Touched,” but it’s still a little confusing.
And the confusion doesn’t end there. “The Nevers,” while handsomely produced and, from moment to moment, reasonably diverting, doesn’t catch fire in those early episodes in part because we — along with the characters — are still trying to figure out what the heck is going on.
Before this goes any further, it’s time to mention that “The Nevers” — a rare case these days of a genre series not based on an existing property — was created for the screen by Joss Whedon. There are things to be explained about Whedon’s involvement with the show, but for now let’s stick to the synergism between the new series and his great creation, “Buffy the Vampire Slayer.”…
A trio of Russian and American space travelers launched successfully and reached the International Space Station on Friday [April 9].
NASA astronaut Mark Vande Hei and Russian cosmonauts Oleg Novitskiy and Pyotr Dubrov blasted off as scheduled at 12:42 p.m. (0742 GMT, 3:42 a.m. EDT) aboard the Soyuz MS-18 spacecraft from the Russia-leased Baikonur launch facility in Kazakhstan.
They docked at the station after a two-orbit journey that lasted just over three hours.
It is the second space mission for Vande Hei and the third for Novitskiy, while Dubrov is on his first mission.
By today’s standards, Pongdoesn’t appear to exactly offer the latest, greatest gaming experience around, but just try and tell that to Pager, a macaque monkey who works for Elon Musk at Neuralink, who is currently playing the game with just his mind…
The gameplay is all part of Musk’s master plan of creating a “fully-implanted, wireless, high-channel count brain-machine interface (BMI),” aka a Neuralink, according to the company’s latest blog post highlighting Pager’s gameplay. While the end goal of the implanted device is to give people dealing with paralysis a direct, neural connection to easily and seamlessly operate their computers and mobile devices, the technology is currently giving this monkey some solid entertainment (as well as some tasty banana smoothies)
In the best video you’ll see of a monkey playing video games all day, we get to hang out for a few minutes with Pager, a 9-year-old macaque who, about six weeks ago, had a Neuralink device implanted into each side of his brain. By appearance, he doesn’t seem to be ill-affected by the procedure, save for some missing head fur. Although, it’s hard to say we’re really having a good hang, as Pager is intently focused on playing mind games with a joystick, and on the sweet, sweet smoothies he gets for interacting with the computer. (Hey, at least he’s getting paid.)
(17) BEACH BLANKET BIG BROTHER. Mr. Sci-Fi – Marc Scott Zicree – is running a multi-part series about radio and on-screen adaptations of Orwell’s novel. The latest is “1984 Marathon Part 5 — 1984 Meets Dr. Phibes!” However, the cute title is deceptive — it’s really an audio copy of Vincent Price’s 1955 radio performance in the role of Winston Smith.
[Thanks to Danny Sichel, John King Tarpinian, Martin Morse Wooster, JJ, Cat Eldridge, Michael Toman, John Hertz, Jeffrey Smith, Michael J. Walsh, Andrew Porter, and Mike Kennedy for some of these stories. Title credit belongs to File 770 contributing editor of the day jayn.]
…When aggregate storytelling is done unofficially, we call it “transformative work,” of which fan fiction is a major part.
An especially intriguing example of modern-day aggregate storytelling — from both an official and unofficial standpoint — is the TV show Supernatural, about two monster-hunting brothers and the found-family they make along the way. The show has enjoyed a voracious fanbase, which kept the series alive for fifteen seasons and spawned thousands and thousands of fan works (as of this writing, there are 243,690 entries related to Supernatural on Archive of Our Own alone. This is to say nothing of Tumblr, Twitter, etc.).
Starting with the season four episode “The Monster at the End of this Book,” the show began engaging with fan reactions through self-referential stories. Sam and Dean literally read fan fiction about themselves on screen, and the characters used vernacular created by the Supernatural fanbase throughout.
The fans didn’t simply consume the story. They changed the way the story was told. It would be difficult to argue that the author(s) should be considered as good as dead in terms of critical consideration when the author(s) were still actively creating in tandem with the audience’s reception…
Escape Pod is pleased to announce a new special project for 2021: Black Future Month, a month-long celebration of Black voices in science fiction, guest edited by Brent Lambert of FIYAH Magazine. Episodes will air in the month of October and feature two original works of short fiction as well as two reprints.
NOTE: For this special event, we are only accepting submission from authors of the African diaspora and the African continent. This is an intersectional definition of Blackness, and we strongly encourage submissions from women, members of the LGBTQIA community, and members from other underrepresented communities within the African diaspora.
Pay rate, format, and content will follow Escape Pod’s regular guidelines, with two exceptions:
Manuscripts do not need to be anonymized for this submissions portal.
Stories must be between 1,500 – 5,000 words.
(3) SFF POSTAGE STAMPS COMING. The UK’s Royal Mail has announced that on March 16 the Legend of King Arthur stamps will be released. This set will be followed by an April 15 issue celebrating classic science fiction. As of today, no images from either set have been posted. Norvic Philatelics speculates what might be commemorated in the Classic Science Fiction set:
This issue consists of pairs of 1st class, £1.70 and £2.55 stamps – with the usual additions of a presentation pack first day cover, and postcards.
Some research reveals that this is the 75th anniversary of the death of the author H G Wells, and the 70th anniversary of the publication of John Wyndham’s The Day of the Triffids”, so it seems likely that one of Wells’ books will feature on one stamp and Wyndham’s will appear on another.
(4) GOODBYE, MR. CHIP. The trailer dropped for HBO Max’s Made for Love. It’s sf, right? At least for another few minutes.
The classic story of boy meets girl, boy implants high-tech surveillance chip in girl’s brain… Featuring Cristin Milioti, Ray Romano, Noma Dumezweni, and Billy Magnussen, Made for Love is coming to HBO Max this April.
…. Before I dive deep into Willis’s construction of parallel characters, I want to speak more generally about the potential for parallels — echoes — inside a book, when that book takes place in multiple timelines. Many books do take place in more than one timeline, of course, whether or not they involve time travel! And there’s so much you can do with that kind of structure. As you can imagine, life in Oxfordshire in 1348 is dramatically different from life in Oxford in 2054. But Willis weaves so many parallels into these two stories, big and small things, connecting them deftly, and showing us that some things never really change. I suppose the most obvious parallel in this particular book is the rise of disease. The less obvious is some of the fallout that follows the rise of disease, no matter the era: denial; fanaticism; racism and other prejudices; isolationism; depression and despair; depletion of supplies (yes, they are running out of toilet paper in 2054). She also sets these timelines in the same physical location, the Oxfords and Oxfordshires of 1348 and 2054 — the same towns, the same churches. Some of the physical objects from 1348 still exist in 2054. She sets both stories at Christmas, and we see that some of the traditions are the same. She also weaves the most beautiful web between timelines using bells, bellringers, and the significance of the sound of bells tolling.
Simply by creating two timelines, then establishing that some objects, structures, and activities are the same and that some human behaviors are the same across the timelines, she can go on and tell two divergent plots, yet create echoes between them. These echoes give the book an internal resonance….
Lisa and I have been getting increasingly antsy and wanting to get out of the house and go see things, but with no sign of a vaccine being available for us mere under-65s, we wanted something that would be away from other people and was close enough to be able to get back home the same day. So we decided to go see the site of the atomic test in our backyard….
I know it’s unlikely that anyone else will come visit this spot, but if somehow your travels take you across “The Loneliest Road,” you might consider a relatively short side trip to one of the few atomic bomb test sites you can visit on your own.
(7) FREE HWA ONLINE PANEL. The Horror Writers Association will present a free Zoom webinar, “Skeleton Hour 7: Writing Horror in a Post-Covid World” on Thursday, April 8, 2021 at 6 p.m. Pacific. Panelists will include: Richard Thomas (moderator), Sarah Langan, Usman T. Malik, Josh Malerman, A.C. Wise, and Lucy A. Snyder. Register here.
The Krakau found an Earth that has been overrun by the bestial survivors of a planetary plague. Still, better half a glass than an empty glass. The benevolent aliens retrieved suitable candidates from the raving hordes and applied suitable cognitive corrective measures. Lo and behold, humans were transformed from wandering monsters to trustworthy subordinates. Although perhaps not all that trustworthy. Humans are relegated to menial tasks.
Marion “Mops” Adamopoulos is in charge of Earth Mercenary Corps Ship Pufferfish’s Shipboard Hygiene and Sanitation team. Chief janitor, in other words. Not command crew. Except that an unexpected attack eliminates her Krakau commanders while most of Pufferfish’s humans revert into beasts. Mops has no choice but to take command of a ship neither she nor the remaining non-bestial humans know how to operate.
Tell, don’t show. Dump your information. Write in second person. Write in passive voice. Use adverbs. To heck with suspense. Rules mark what’s difficult, not what’s impossible. There’s a whole range of exciting storytelling possibilities beyond them. Not every story needs to be in second person, but when it’s the right voice for the right story, it can be magic. The right information dump, written perfectly, can become a dazzling gymnastic feat of beauty, fascination, or humor. “Break the Rules” will teach you inspirations and techniques for rowing upstream of common knowledge. You can break any rule–if you do it right.
Join award-winning speculative fiction writer Rachel Swirsky for a workshop in which she teaches you how and why to break the rules. Next class date: Sunday, April 4, 2021, 1:00-3:00 PM Pacific Time.
(10) MEDIA BIRTHDAY.
March 8, 1978 — The Hitch-Hiker’s Guide to the Galaxy was first broadcast forty-three years ago today on BBC Radio 4. It was written by Douglas Adams with some material in the first series provided by John Lloyd. It starred Simon Jones, Geoffrey McGivern, Mark Wing-Davey. Susan Sheridan and Stephen Moore. It was the only radio show ever to be nominated for a Hugo in the ‘Best Dramatic Presentation’ category finishing second that year to Superman at Seacon ‘79. It would spawn theater shows, novels, comic books, a TV series, a video game, and a feature film.
(11) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge and John Hertz.]
Born March 8, 1859 — Kenneth Grahame. Author of The Wind in the Willows which it turns out has had seven film adaptations, not all under the name The Wind in the Willows. (Did you know A.A. Milne dramatized it for the stage as Toad of Toad Hall?) Oh, and he did write one other fantasy, The Reluctant Dragon which I’ve never heard of. Have any of y’all read it? (Died 1932.) (CE)
Born March 8, 1899 – Eric Linklater. The Wind on the Moon reached the Retro-Hugo ballot; it won the Carnegie Medal. Three more novels, nine shorter stories for us; two dozen novels all told, ten plays, three volumes of stories, two of poetry, three of memoirs, two dozen of essays & history. Served in both World Wars. Commander of the Most Excellent Order of the British Empire, Fellow of the Royal Society of Edinburgh. (Died 1974) [JH]
Born March 8, 1922 – John Burke. Co-edited The Satellite and Moonshine (not Len Moffatt’s fanzine, another one). A score of books including novelizations of Chitty Chitty Bang Bang and Those Magnificent Men in Their Flying Machines (okay, call it adjacent), fourscore shorter stories, for us; a hundred fifty novels all told. Correspondent of The Fantast, Zenith, and at the end Relapse, which I wish Sir Peter Weston hadn’t retitled from Prolapse, but what do I know? (Died 2011) [JH]
Born March 8, 1928 — Kate Wilhelm. Author of the Hugo–winning Where Late the Sweet Birds Sang. She also won a Hugo for Best Related Book and a Locus Award for Best Nonfiction for Storyteller: Writing Lessons and More from 27 Years of the Clarion Writers’ Workshop. SFWA renamed their Solstice Award the Kate Wilhelm Solstice Award. She established the Clarion Workshop with her husband Damon Knight and writer Robin Scott Wilson. (Died 2018,) (CE)
Born March 8, 1932 – Jim Webbert, age 89. Among our better auctioneers – we raise money that way, few would pay what con memberships really cost. Collector of books, other art, model rockets. HO model railroader. Chemist. Three decades in the Army Reserve, often teaching. Often seen at LepreCon. Fan Guest of Honor at TusCon 1, CopperCon 9, Con/Fusion, Kubla Khan 20 (all with wife Doreen). [JH]
Born March 8, 1934 — Kurt Mahr. One of the first writers of the Perry Rhodan series, considered the largest SF series of the world. He also edited a Perry Rhodan magazine, wrote Perry Rhodan chapbooks and yes, wrote many, many short stories about Perry Rhodan. He did write several other SF series. Ok, what’s the appeal of Perry Rhodan? He runs through SF as a genre but I’ve not read anything concerning him. (Died 1993.) (CE)
Born March 8, 1939 — Peter Nicholls. Writer and editor. Creator and co-editor of The Encyclopedia of Science Fiction with John Clute which won a Hugo twice. He won another Hugo for the Science Fiction Encyclopedia. His other publications were Science Fiction at Large, The Science in Science Fiction edited by Nicholls and written by him and David Langford, and Fantastic Cinema. He became the first Administrator of the United Kingdom based Science Fiction Foundation. He was editor of its journal, Foundation: The Review of Science Fiction, from 1974 to 1978. (Died 2018.) (CE)
Born March 8, 1973 – Daniel Griffo, age 48. Lives in La Plata (a Silver Age artist?), Argentina, with wife, son, and two pets named Indiana and Jones. I am not making this up. Comics, lettering, 3-dimensional activity books, My Visit to the Acupuncturist (I’m not; why shouldn’t there be a children’s book about that?), two about Dragon Masters – here’s one of them, Future of the Time Dragon. Website. [JH]
Born March 8, 1976 — Freddie Prinze Jr., 45. I’m fairly sure his first genre role was in Wing Commander as Lt. Christopher Blair followed by the animated Mass Effect: Paragon Lost in which he voiced Lieutenant James Vega. Speaking of animated endeavors, I’ve got him in Kim Possible: A Sitch In Time voicing Future Jim / Future Tim followed by being in all in all four seasons of the animated Star Wars Rebels as Kanan Jarrus. And that’s a series which I highly recommend as it may well be the best Star Wars fiction ever done. (CE)
Born March 8, 1978 – Samanta Schweblin, age 43. Another Argentine, this one living in Berlin, writing in Spanish. Two novels, two shorter stories for us; three collections. Casa de las Americas Award. Juan Rulfo Prize. Tigre Juan Award, Shirley Jackson Award for Distancia de rescate, in English Fever Dream. [JH]
(12) COMICS SECTION.
The Far Side reveals the tragic conclusion of a nursery rhyme.
(14) ON BOARD. [Item by Martin Morse Wooster.] In the March 3 Financial Times, gaming columnist Tom Faber looks at the appeal of board games during the pandemic.
For those who fancy themselves not Victorian engineers or colonial settlers but fantasy warriors and space explorers, games such as Twilight Imperium and Terraforming Mars hold more appeal. You can learn the rules of most within an hour or two, but there are some more elaborate offerings such as dungeon crawler Gloomhaven, which weighs 10kg and currently sits at the top of the ratings on the authoritative site BoardGameGeek. Games have grown in beauty as well as sophistication–see Wingspan, with its 180 gorgeous bird illustrations and pleasing tokens in the shape of pastel-shaded eggs.
As the games themselves have become more desirable, board game cafes such as Draughts in London and Snakes and Lattes in Toronto have sprung up and help legitimise board gaming, At the same time, the internet has facilitated the discovery of new games and willing opponents, as well as enabling the rising trend of board game crowdfunding–Frosthaven, the followup to Gloomhaven, raised almost $13m on Kickstarter.”
After having endured the horrors of Oklahoma and Kentucky, I’ve decided that I should announce my mask policy. I’m not a head of state or a governor, I’m just a guy, so there is no way to enforce my preferences on the world— except, of course, by way of sarcasm and mockery.
Just remember that I’m the guy that came up with several rules for living, including Williams’ First Law: Assholes Always Advertise.
So here goes:
While there is very little scientific data about how effective mask use is in preventing COVID, the wearing of masks in public is (at the very least) a courtesy to others, particularly those most vulnerable to the disease.
So if you’re in public and not wearing a mask, I’m not going to assume that you’re a brave iconoclastic thinker challenging accepted dogma, I’m going to assume that you are a complete asshole. And not only are you an asshole, you’re advertising yourself as such.
…On the positive side, I love the concept of the alien spaceship disintegrating as it enters the solar system. I’m frankly fascinated by the backstory of that, which sadly, in episode one at least, the series shows no signs of exploring, versus the “what does each piece of debris do this week” storytelling. I liked the way the program began, with the tiny shard of debris transporting an unfortunate maid from high up in a hotel to her death in the dining room, without marring any of the ceilings or floors she falls through. Grabbed my attention!
But there was very little about the alien technology or curiosity on anyone’s part about the aliens themselves or what destroyed the ship. No discussion about whether the debris is actually some kind of invasion or what might happen next. No one here seems to care if there was an FTL drive to be had. I frankly wished this was a series about going to explore what’s left of the hulk in space, rather than these cut and dried, solved in an hour individual cases….
(17) A LITTLE LIST. At the Hugo Book Club Blog, Olav Rokne has compiled a list of “Screen adaptations of Hugo-shortlisted works”. There are 47 so far. (The list excludes Retro Hugo awards as well as all Graphic Novels and comic book adaptations.)
The scrutiny also prompted some public libraries to review their Dr. Seuss collections.
A group of librarians across Toronto Public Library’s system will evaluate the titles in question and issue recommendations, according to a spokeswoman.
“Occasionally, children’s books written some time ago are brought to our attention for review,” Ana-Maria Critchley said in an email.
“If the review determines there are racial and cultural representation concerns the committee will recommend to either withdraw the book from our library collections or move the book from children’s collections to another location, such as a reference collection for use by researchers.”
The Vancouver Public Library is also launching reviews of each of the six Dr. Seuss titles.
Scott Fraser, manager of marketing and communications, said this process is usually initiated by a request from a patron, but the library made an exception given the “extremely unusual” decision by a rights holder to suspend publication.
Copies of the books will remain on the shelves while the review is underway, Fraser said, and officials will then decide whether to keep a title in the collection, change its classification or remove it from the stacks.
Vancouver Public Library previously reviewed “If I Ran the Zoo” in 2014 in response to a complaint about stereotypical depictions of Asians. A caption in the book describes three characters as “helpers who all wear their eyes at a slant.”
The library decided to keep the book on the shelves, but stop reading it at storytime, and only promote it as an example of how cultural depictions have changed….
…Prior to this discovery, Zhang and his research group had been pondering the possible existence of space hurricanes for years. The team’s research focus lies in the interactions between the ionosphere, an atmospheric layer that extends some 50 to 600 miles above Earth’s surface, and the magnetosphere, the region shaped by our planet’s protective magnetic field. At the poles, these interactions generate the magical and dazzling auroras that are popularly known as the Northern and Southern Lights.
Tropical hurricanes are driven in part by the movements of heavy air masses that generate strong winds; Zhang and his colleagues suspected a similar mechanism might be at work in the outer space environment close to Earth. In the case of space hurricanes, the solar wind, a stream of charged particles that flows from the Sun, slams into Earth’s upper atmosphere and transfers its energy into the ionosphere, driving the cyclone formation.
(20) VIDEO OF THE DAY. In “WandaVision Pitch Meeting” on ScreenRant, Ryan George explains that Marvel fans will be frustrated by the slow drip of revelations about how WandaVision connects to the MCU that they’ll become really frustrated by the phrase “Please Stand By.”
[Thanks to Andrew Porter, John Hertz, Martin Morse Wooster, Michael Toman, John King Tarpinian, Cat Eldridge, JJ, and Mike Kennedy for some of these stories. Title credit goes to File 770 contributing editor of the day Brian Z.]
By Kevin Standlee: The WSFS Business Meeting was probably the shortest such meeting ever held, albeit not the smallest, despite fears of being able to achieve the quorum of 12 members of WSFS physically present. Because New Zealand isn’t in internal lockdown, members of CoNZealand who were in Wellington could attend the meeting were induced to do so by the provision of coffee/tea/snacks, and in the end apparently 23 people attended. That means their meeting had more people attending that were at the WSFS Business Meetings held at Nippon 2007 in Yokohama.
With none of the originally-announced WSFS Business Meeting staff able to attend M. Darusha Wehm agreed to act as Moderator (or “Emergency Holographic Chair” as I put it), working from a “script” supplied by Business Meeting Chair Kent Bloom. The intention was to deal quickly with the small number of things that couldn’t wait, and postpone everything else to next year.
Those people attending Virtual CoNZealand could follow a text description of the Business Meeting by Daniel Spector (who was attending) on the convention’s Discord at #major-events. This makes more sense than one might think, in that functionally, the Business Meeting is more like a small Event than a program item. People like me who are suffering from WSFS Withdrawal Syndrome (I’ve not missed a single session of any WSFS Business Meeting going back to 1989.) could at least follow along.
According to the descriptions from Daniel and the tweets from Soon Lee, shortly after a quroum was achieved, the Preliminary Business Meeting was called to order. It took four minutes to receive all reports, unanimously approve the Hugo Award eligibility extensions (see http://www.wsfs.org/wp-content/uploads/2020/07/2020-WSFS-agenda-20200714.pdf p.25), continue all existing ad hoc committees as currently constituted, adopt blanket debate times for everything, and adjourn the preliminary meeting so that people could attack the coffee/tea service.
When the Main Business Meeting convened ten minutes later, things went even faster. The Site Selection results (announced the previous day) were received and the ballots ordered destroyed, which is the technical point at which time the election is final, not that there was any chance of there being a protest. Question Time for conventions and bids was waived.
The meeting effectively postponed the ratification of all pending constitutional amendments for one year. (There is more than one way to do this, and we won’t know exactly which was was used until we see the recording/get the minutes, but one possible route would have been to unanimously agree to reject ratification of every proposal and then immediately pass all of those same items as new proposals, resetting their ratification clocks.) There was no new constitutional business.
Because the election of the Mark Protection Committee members is in the Standing Rules, not the Constitution, it can and was waived. This means that the three seats whose terms ended this year went vacant. The MPC will meet via Zoom (open to any attending CZ member; it’s listed in the Grenadine schedule) just before Closing Ceremonies. Per existing authority in the rules, the MPC plans on appointing the three people whose terms ended this year (John Coxon, Linda Deneroff, and Dave McCarty) to temporarily fill those three vacant seats until next year’s Business Meeting, where the BM will need to elect six people instead of the usual three, with three people being elected to two-year terms.
With all constitutional business resolved, the Main Business meeting adjourned, having lasted about two minutes. It is possible to get a lot of stuff done if every single person in the room agrees to it and does not raise an objection to it.
Anna Smith Spark, a grimdark author from London, has organized an open “letter of concern” with several dozen co-signers, including Charles Stross, about the bid to bring the Worldcon to Jeddah, Saudi Arabia in 2022, which will be voted on this week. The competition is a bid for Chicago in 2022.
Anna Smith Spark sent File 770 the letter, and “Also (and I will be dead in the eyes of the WSFS for this) the email they sent me washing their hands of this and having a quick pop at those involved in the anti-Puppies work as well for good measure,” which is a reply received from WSFS webmaster Kevin Standlee.
An open letter to the World Science Fiction Society (WSFS) and to Norman Cates as the Chair of the 2020 WorldCon
Dear WSFS, and dear Norman,
As writers, publishers and readers of science fiction and fantasy, we are writing to express our concern that Saudi Arabia has been accepted as a potential host site for the 2022 World Science Fiction Convention (WorldCon).
SFF is the great genre of possibilities and pluralities. As readers, writers and publishers of SFF our task is to inspire wonder: we look up at the stars to seek out other ways of being, we look down at the earth around us to find enchantment, beauty, romance, horror, hope. We create new worlds because we believe that in doing so we can make this world a better and intellectually richer place. A Jeddah WorldCon would allow fandom a chance to visit a breathtakingly beautiful city, Jeddah. It would break new ground for SFF Fandom, open up a new world to fans who may otherwise never have an opportunity to travel there, and show solidarity with creative communities within Saudi Arabia and other Arab states. It’s therefore with great sadness that we must face reality for what it is, that the Saudi regime is antithetical to everything SFF stands for.
The most recent Amnesty International report on Saudi Arabia states that in 2019 the Saudi government ‘escalated repression of the rights to freedom of expression, association and assembly. They harassed, arbitrarily detained and prosecuted dozens of government critics, human rights defenders, including women’s rights activists, members of the Shi’a minority and family members of activists. […] Some people, most of them members of the country’s Shi’a minority, were executed following grossly unfair trials.’ Saudi women face systematic legal discrimination, while identifying as LGBQT+ is illegal and can be punishable with corporal punishment and even execution. Saudi Arabia is a key player in the war in Yemen that has left 80% of the Yemeni population in need of humanitarian aid, and has been accused of war crimes in the region. The UN concluded last year that it was ‘credible’ that the Saudi Crown Prince personally ordered the brutal murder of journalist Jamal Khashoggi for the crime of writing words. It cannot and must not be acceptable to stage an international event against this backdrop. Indeed, the murder of Jamal Khashoggi alone should be enough to render the concept of a literary convention in the country an absurdity.
On a personal level, we note that many of us would ourselves not be able to write or to live freely under Saudi law. We refuse to attend an event if those staffing it cannot have the same basic freedoms. We express deep concern that many members of the SFF community would be excluded from attending an event because of their sexuality, nationality or religious beliefs.
We stand in solidarity with those who seek change in the country. And we write in protest but also in hope – that by raising awareness of the political situation in Saudi Arabia a WorldCon SA will one day be possible.
Anna Smith Spark (organiser), Justin Lee Anderson, Andrew Angel, Helen Armfield, Allen Ashley, Graham Austin-King, Ali Baker Brooks, Andrew Bannister, RJ Barker, Alan Baxter, Donna Bond, James Brogden, Mike Brooks, Angela Cleland, Tom Clews, Adrian Collins, Lee Conley, Emily Cornell, Sarah Doyle, Margaret Eve, Mike Everest Evans, The Fantasy Hive, Fantasy Faction, Nick Ferguson, Karen Fishwick, Carol Goodwin, T. L. Greylock, Joanne Hall, Patricia Hawkes-Reed, Bethan May Hindmarsh, Stewart Hotson, Shellie Horst, Steve D. Howarth, Humber SFF, Barbara James, Cameron Johnston, Daniel Kelly, Simon Kewin, Alex Khlopenko, Shona Kinsella, Alex Knight, David Lascelles, Ulff Lehmann, Dale Lucas, Eloise Mac, Steve McHugh, Juliette McKenna, Peter McLean, Kevin McVeigh, Kareem Mahfouz, Masimba Musodza, Andy Marsden, GR Matthews, Simon Morden, Alistair Morley, T. O. Munro, Stan Nicholls, Chris Nuttall, Scott Oden, Graeme Penman, Peter Philpott, Steven Poore, Gareth L Powell, Robert V.S Redick, Ian Richardson, Courtney Schaffer, S. Naomi Scott, Ian Segal, Mike Shackle, Steve J Shaw, Sheffield Science Fiction and Fantasy Society, , Rita Sloan, Sammy HK Smith, Vaughan Stanger, Mark Stay, Charlie Stross, Allen Stroud, Amanda M Suver Justice, Clayton Synder, Sue Tingey, Three Crows Magazine, Tej Turner, Catriona Ward, Matthew Ward, David Watkins, RB Watkinson, Adam Weller, Graeme Williams, Phil Williams, Deborah A Wolf.
Copied to the Board of the SFWA, Locus Magazine, Tor.com, Starburst, the UK Guardian newspaper
WSFS Web Site Team Reply
There is no such entity as the “Board of the World Science Fiction Society (WSFS).” WSFS is an unincorporated literary society that has no Board of Directors, no ongoing chief executive, and no “Head Office.” I am copying the co-chairs of ConZealand on this reply.
The rules of WSFS, which are made by the members of WSFS (the attendees of the Worldcon), set very minimal technical requirements for any group to bid for a Worldcon. The selection is not made by a Board of Directors or Executive Committee, but by the entire membership of WSFS, who vote on the choice, just as they vote on the Hugo Awards. Indeed, the process is very similar in both cases, in that Worldcons are not supposed to make subjective value judgments about nominees for the Hugo Awards. This decision is reserved to the entire membership, exercising their right to vote.
If you are interested in more information about how WSFS works and how you can propose changes in its rules, I can explain things in further detail.
This is not intended as being dismissive, but to try and explain that Worldcons and WSFS as a whole does not give anyone the right to make subjective judgements about either Hugo Award nominees/finalists or prospective Worldcon sites other than the entire membership.
(1) YOU’VE SEEN HIM EXPLAIN HUGO VOTING, SO YOU KNOW HE’S GOT
THIS. Kevin Standlee, a volunteer in Nevada’s Democratic Caucuses, appeared
on CNN Newsroom with Poppy Harlow and Jim Sciutto to answer questions
about the assistive technology being used there (not the one that sparked
controversy in Iowa). See the video here.
Kevin added, responding to a File 770 email:
My specific role was “Precinct Chair,” meaning that I conducted the caucus for my own precinct (Lyon County precinct 40), conducting the votes and certifying the results to the site lead. (Seven precincts caucused at our site.) The Site Lead then took the official paper records, reported them to the party headquarters by telephone and by texting pictures of the records to the party, then he took custody of the paper records and returned them to the party headquarters in Reno.
And before I finished today’s Scroll
Kevin had written a complete account (with photos) on his blog — “3 1/2 Minutes
of Fame”. Plus, his photos of the CNN appearance start here, and photos of the
Nevada Caucus start here.
…Since stepping into an executive role at the company, DiDio has served as DC’s public face at conventions and public events, and has worked to champion not only the company as a whole but specifically the comic book division — and comic book specialty market — as being integral to DC’s success on an ongoing basis. DiDio was also part of the push to expand DC’s publishing reach into Walmart and Target via exclusive 100-Page Giant issues, an initiative that proved so successful that the issues were expanded to the comic store market.
…With DiDio’s departure, Jim Lee becomes sole publisher at DC, in addition to his role as the company’s chief creative officer, a position he’s held since June 2018.
Bleeding Cool now understands that yes, DiDio was fired this morning by Warner Bros at 10.30am PT in their Burbank offices and he left the building straight away. I am told by sources close to the situation that he was fired, for cause, for ‘fostering a poor work environment’ – as evidenced, as we previously stated, by significant departures at the publisher by editors. Dan DiDio has a reputation of being a micro-manager from some, for being very involved in projects from others. And DC Comics was heading towards a big change in its publishing programme – one aspect of which was the much-rumoured 5G – or Generation Five. Which would have seen DC’s major figures Bruce Wayne, Clark Kent, Diana and more aged out and replaced with new characters taking the roles of Superman, Batman and Wonder Woman as part of the new DC Timeline. And some folk at DC Comics were very much against this. But opposition never worried Dan, after all he was at constant odds with the direction the company line was pushed for pretty much his entire career as Publisher, and was always was striving to put comics first, as he saw it….
JC: Historical fictions are designed largely as a sort of medley: true details of time and place, actual persons of the period treated as fictional characters with their own point of view, invented persons who interact with the historical ones, real events that will form memories for the real people and for the fictional ones. You’ve long been drawn to this kind of fiction and its possibilities. What do you think its power is, for writer and reader?
EH: Well, as you know yourself, history is an immense sandbox for a writer to play in. I would add “fulfilling,” but can a sandbox be fulfilling? I love research, searching for and delving into primary sources in hopes of discovering some nugget of information that’s somehow gone unnoticed, that I can then use in a story. And while I always try to create as authentic and absorbing a portrait of a period as I can, I love playing with all the what ifs of history. Darger and Chaplin and Hollywood screenwriter Ben Hecht and others were all in Chicago at the same time: what if their paths crossed in some way?
JC: A theme of Curious Toys is how people in that period were fascinated with human oddities (fake or real), and you explore how, as much as that was about fear and wonder over the bodies of differently-abled people, it was also connected with the period’s gender rules and expectations. How much of this background psychology do you expect readers will sense?
EH: I never know what readers will “get” or not. To me, some things in a narrative seem perfectly obvious, yet are completely overlooked by readers (and critics). But I hope that my depiction of that period and its fears and bigotries is realistic enough that readers grasp how similar it was to our own time, even though many things have changed for the better. I came across an anti-immigrant government screed from around 1915 that could have been written yesterday by a member of the current administration. Gender expectations have changed since 1915; I suspect Pin would have very similar experiences were she to pull the same gender reversals today, though they’d be updated for the twenty-first-century workplace. I guess my real concern should be that some readers will think my historical depiction of an earlier era’s prejudices is fake news.
NOAF: You’re also on TV! While us viewers only see the polished, edited version, you literally get to see what happens behind the scenes. Any funny or surprising stories from your experiences filming the Contact and Hunted TV shows? Is television something you hope to do more of?
MC: I love doing TV. For one thing, I love attention. I used to think of this as a character flaw (we’re all raised to be self-effacing and taught that seeking the spotlight is a sign of egomania), but I’ve come to accept that for better or worse, it’s who I am. TV is so much easier than writing. It’s grueling work (12-15 days when you’re shooting), but it’s compressed into a tight period (Hunted was two month’s work. Contact was one month’s work). I get paid more to do a single TV show than I do in a year of writing, and a book takes me 1-2 years to write.
But just like writing, just because you’re doing it at a professional level is absolutely no guarantee you will get to keep doing it. I thought that starring on two major network shows and having an agent at CAA (it’s really hard to get in there) meant my TV career was set. Nothing could be farther from the truth. The only real benefit of having done two shows is that I now have a gorgeous, professional “reel” (clips of me on TV) that I can show to other shows I am trying to get to book me. Otherwise, I’m basically at square one. So, I’m currently hustling for my next show and there’s no guarantee that I’ll get it.
A lot moreStar Trek is on the way. ViacomCBS CEO Bob Bakish confirmed during the company’s 2019 earnings call that two more Star Trek television shows are in the works. These are on top of Star Trek: Discovery, Star Trek: Picard, and the already announced Star Trek: Lower Decks, Star Trek: Section 31, and the untitled Nickelodeon Star Trek animated series. Bakish also confirmed that the next installment of the Star Trek film series is being developed by Paramount Pictures. This was the first earnings call since ViacomCBS formed out of the merger of Viacom and CBS in 2019. The merger brought the Star Trek film and television rights under the same roof for the first time since the two companies split in 2006.
Bakish says that the reunited ViacomCBS plans “take the Star Trek franchise and extend it across the house.”
To that end, Bakish confirmed that a new line of Star Trek novels is on the way from VIacomCBS subsidiary Simon & Shuster. This line will include prequels tying into Star Trek: Picard. The first Picard tie-in novel, The Last Best Hope by Una McCormack, was released in February.
Bakish also confirmed that more Star Trek comics are on the way…
.(6) DARK MATTERS. “Chasing
Einstein: The Dark Universe Event” will be hosted by The Arthur C.
Clarke Center for Human Imagination on March 2. A
screening of the feature documentary Chasing Einstein will be followed by a panel discussion and Q & A.
Could Einstein have been wrong about the true nature of gravity? Does his general theory of relativity and the Standard Model need an update? Unprecedented advances in experimental particle physics, astronomy and cosmology are uncovering mysteries of cosmic consequence. Among the most challenging is the realization that 80% of the universe consists of something unknown that exerts galactic forces pulling the universe apart. The search for Dark Matter extends from the worlds most powerful particle accelerators to the most sensitive telescopes, to deep under the earth. Nobel worthy discoveries await. Scientists at UC San Diego are at the epicenter of the search for Dark Matter leading efforts to build the next generation of instruments and experiments to uncover its secrets.
The panelists will be —
Professor, and Founder of the
XENON Dark Matter Project, Elena Aprile
Professor of Physics Brian Keating
Kaixuan Ni, Ph.D, Ni Group at UC San
Diego. Dr. Ni leads the development of liquid xenon detectors for the
search of dark matter.
Patrick de Perio, postdoctoral research
scientist, Columbia Univerity
…Bo used his body. He developed specific stances and specific locations, along with a variety of sounds. One such was to come running up to you, circle once, face you straight on and chuff. We quickly learned that this meant “I’m trying to tell you something and you are too stupid to figure it out.” So we’d guess, and here’s the cool thing: we’d know if the guess was right or wrong by what Bo did. We’d offer (something like “do you need to go out”?) and if we were wrong, he’d look at whatever it was, but not move, then look back at us. “Nope, that’s not it.”
Finally, if we were unable to come up with an answer, we’d say “show me”, and off Bo would go. He’d walk right to the immediate vicinity of whatever it was (oh, I left food in the microwave – Bo standing, facing the microwave on the counter, or oh, your toy is way under the jelly cabinet – Bo standing facing the cabinet, then looking up at us, then back down at the floor).
Once he learned that attempts at communicating would be rewarded, he never stopped.
Steve still needs to pay some
on-going expenses for Bo’s treatment and has a GoFundMe campaign here.
(8) TODAY IN HISTORY.
February 22, 1918 — In Denmark, A Trip to Mars (Himmelskibet in Danish), premiered. It is a 1918 Danish film about a trip to Mars. In 2006, the film was restored and released on DVD by the Danish Film Institute. Phil Hardy, the late English film critic, in The Overlook Film Encyclopedia: Science Fiction claims it is “the film that marked the beginning of the space opera subgenre of science fiction”. You can watch it here.
February 22, 1956 — The Mole People premiered. It was produced by William Alland, and directed by Virgil W. Vogel. It stars John Agar, Hugh Beaumont, and Cynthia Patrick. (Beaumont is best remembered for his portrayal of Ward Cleaver.) The story is written by László Görög who also scripted The Land Unknown and Earth v. The Spider, two other late Fifties SF films. Though I can’t find any contemporary critical reviews, currently audiences at Rotten Tomatoes give it a 28% rating. Oddly enough, the only video of it on YouTube is the Mystery Science Theatre 3000 airing which you can see here. That video alludes to the changed end which may have been done to placate the studio and their sensitivities to Fifties social mores.
(9) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born February 22, 1899 — Dwight Frye. He’s the villain in classic Universal Thirties horror films such as Renfield in Dracula, Fritz in Frankenstein and Karl in The Bride of Frankenstein. You might also know him as Wilmer Cook in The Maltese Falcon. He’s uncredited as a Reporter in The Invisible Man. (Died 1943.)
Born February 22, 1917 — Reed Crandall. Illustrator and penciller best known for the Forties Quality Comics’ Blackhawk (a DC property later) and for stories in myriad EC Comics during the 1950s. In the late Sixties, he did the illustration work on King Features Syndicate’s King Comics comic-book version of the syndicate’s Flash Gordon strip. He’s been inducted into Will Eisner Award Hall of Fame. (Died 1982.)
Born February 22, 1925 — Edward Gorey. I’m reasonably sure that his animated introduction to the PBS series Mystery! was my first encounter with him. I will recommend Gorey Cats, The Haunted Tea-Cosy: A Dispirited and Distasteful Diversion for Christmas and The Doubtful Guest. Ok if he’s not genre but he’s still fun and delightfully weird. Oh, and do go read Elephant House: Or, the Home of Edward Gorey, with superb photographs and text by Kevin McDermott. (Died 2000.)
Born February 22, 1929 — James Hong, 91. Though not quite genre, he became known to audiences through starring in The New Adventures of Charlie Chan in the late Fifties. Genre wise, his first role was in Godzilla, King of the Monsters! voicing Ogata/Serizawa. He then pops up in The Satan Bug as Dr. Yang and next is seen playing Ho Lee in Destination Inner Space. You’ll no doubt recognize Colossus: The Forbin Project wherehe’s Dr. Chin but I’ll bet you’ve never heard of, oh wait you have, Blade Runner in which he’s Hannibal Chew and Big Trouble In Little China which I love in which he’s wizard David Lo Pan. It’s back to obscure films after that with next up being Shadowzone where he’s Dr. Van Fleet and Dragonfight where he’s Asawa. He’s next in The Shadow as Li Peng but I’ll be damned if I can remember his role and the same holds true for him as Che’tsai In Tank Girl too. He’s Mr. Wu in the very loose adaption of the classic The Day the Earth Stood Still.
Born February 22, 1933 — Sheila Hancock, 87. Helen A. In the Seventh Doctor story, “The Happiness Patrol”. Other than voicing The White Witch in an animated version of The Lion, the Witch & the Wardrobe, that’s it for her genre work as far as I can tell but it’s a role worth seeing if you’ve not seen it!
Born February 22, 1937 — Joanna Russ. Is it fair to say she’s known as much for her feminist literary criticism as her SF writings? That The Female Man is her best known work suggest my question really isn’t relevant as there may be no difference between the two. She was for a long time a influential reviewer for Magazine of Fantasy & Science Fiction where I think it would fair to say that you knew clearly what she thought of a given work. (Died 2011.)
Born February 22, 1953 — Genny Dazzo, 67. She attended the first Star Trek Convention in New York. She has since been involved in the local SF con, Lunacon. Moving out to LA, she was on the committee for all of the LA WorldCons as well as the Westercons, Loscons, and AmineLA.
Born February 22, 1959 — Kyle MacLachlan, 61. Genre wise known for his role as Dale Cooper in Twin Peaks and its weird film prequel Twin Peaks: Fire Walk with Me, Paul Atreides in Dune, Lloyd Gallagher in The Hidden, Clifford Vandercave In The Flintstones, Calvin Zabo in Agents of S.H.I.E.L.D. and Jeffrey Beaumont in Blue Velvet (OK not genre, just weird).
(10) COMICS SECTION.
At Family Circus, the kids ask their Mom a challenging genre question.
(11) BOOK FU. This seems like something no one should miss.
If you need a Weasley reunion, look no further than Fan Expo Dallas 2020. Four Harry Potter actors are getting together for some exciting times.
That’s right. You’ll get four of the Weasley siblings. And these aren’t the ones that you didn’t see enough off on screen. Fan Expo Dallas 2020 has managed to get the four Weasley siblings who spent most of their time on screen; the ones you cried over and rooted for.
Rupert Grint, Bonnie Wright, and Oliver and James Phelps will all attend the multi-fandom convention….
Musk’s love of books and the lessons he took from them inspired him to create “cleaner energy technology or [build] spaceships to extend the human species’s reach” in the future, according to Vance.
One set of those books Musk still recommends today: the seven-book “Foundation” science fiction series by scientist and author Isaac Asimov.
(14) 1968 ASIMOV AUDIO. Fanac.org presents a recording
of Isaac Asimov’s talk at the 1968 Boskone.
In this audio recording (illustrated with more than 50 images), Isaac Asimov spends an hour talking about everything and anything. He is speaking to his extended family – a roomful of science fiction fans.
Isaac speaks with great good humor about his writing (both science fiction and science fact), ribs his fellow writers, especially Lester Del Rey and others who were in the room, and tells stories about Harlan Ellison and John W. Campbell.
He is charming and arrogant, explaining his view of women, why he doesn’t write for TV, his experiences on late night TV and more.
This is an opportunity to get to know one of science fiction’s greats as his contemporaries did.
Thanks to the New England Science Fiction Society (NESFA) and Rick Kovalcik for providing the recording. Brought to you here by FANAC.org , the Fanhistory Project. For more fan history, visit FANAC.org and Fancyclopedia.org .
The big question is “What changed?” Why is it that, after nearly a decade, these antiquated approaches to web spamming are back?
The real answer is that web scraping never really went away. The nature of spamming is that, even after a technique is defeated, people will continue to try it. The reason is fairly simple: Spam is a numbers game and, if you stop a technique 99.9% of the time, a spammer just has to try 1,000 times to have one success (on average).
But that doesn’t explain why many people are noticing more of these sites in their search results, especially when looking for certain kinds of news.
Part of the answer may come from a September announcement by Richard Gingras, Google’s VP for News. There, he talked about efforts they were making to elevate “original reporting” in search results. According to the announcement, Google strongly favored the latest or most comprehensive reporting on a topic. They were going to try and change that algorithm to show more preference to original reporting, keeping those stories toward the top for longer.
Whether that change has materialized is up for debate. I, personally, regularly see duplicative articles rank well both in Google and Google News even today. That said, some of the sites I was monitoring last month when I started researching this topic have disappeared from Google News.
(16) FROM POWERED ARMOR TO CRAB SHELL. “Anytime you think
I’m being too rough, anytime you think I’m being too tough, anytime you
miss-your-mommy, QUIT! You sign your 1240-A, you get your gear, and you take a
stroll down washout lane. Do you get me?” He’s had quite a career since playing Sgt. Zim
in Starship Troopers – the Maltin on Movies podcast interviews Clancy Brown.
With films ranging from The Shawshank Redemption to Starship Troopers and recent TV appearances on The Mandalorian, Emergence, Billions, and The Crown (as LBJ), Clancy Brown is the living definition of a “working actor.” He’s also been the voice of Mr. Krabs on Spongebob Squarepants for more than twenty years! Leonard and Jessie have been after him for many months to appear on the podcast and finally found a day he wasn’t on a soundstage; it was well worth the wait.
In The Poet King, Ilana C Myer sticks the landing, in completing the Harp and the Blade trilogy, a poetical and lyrically rich fantasy of the tumultuous return of magic to a fantasy land, and the poet central to the mythically infused events.
The Last Sun introduced us to a fascinating world of Atlanteans, their world gone, living on the occupied island of Nantucket. A world where the most powerful Atlanteans carried terrible magical power, Rune, last heir of fallen House Sun, became wrapped up in the machinations of other, great Houses, and slowly coming into his own power in the process. An unusual sort of urban fantasy, The Last Sun was notable for its invention, its strong character focus, and the queer friendliness of Atlantean society.
Now in The Hanged Man, K.C. Edwards continues the story of Rune, and Brand, his bonded Companion, and their slowly accumulating set of friends, lover, and allies.
[Thanks to Cat Eldridge, Andrew Porter, JJ, John King Tarpinian,
Chip Hitchcock, Martin Morse Wooster, Karl-Johan
Norén, Mike Kennedy, Michael Toman, and Andrew Porter for some of
these stories. Title credit goes to File 770 contributing editor of the day Bill.]