Neil Clarke has updated the Semiprozine Directory for the benefit of Hugo voters who want to know what’s eligible in the Best Semiprozine category.
He tells File 770 —
I can’t say that there’s been much activity. Not shocking considering the year we’ve had.
We had a few magazines that didn’t publish new issues in 2020 (possible they could return) and some new ones that just missed meeting the four issue minimum requirement, but are on-track for eligibility in 2021. Over the course of the year, there were a few new additions, but I believe that most of them were previously eligible and we just didn’t know about them.
No one has moved from semipro to professional in 2020. Similarly, no one has taken themselves out of the running for the award this year.
As usual, if there are any publications that would like to be added to the list, they should feel free to contact me.
53 publications that are currently eligible for the Hugo Award for Best Semiprozine;
Other semiprozines that are ineligible for the 2021 Hugos because they did not publish an issue in 2020;
Other zines that are ineligible for nomination as semiprozines because they are professional publications or fanzines (answering specific reader inquiries – not intended as an exhaustive list).
This is not an official list, but a tool that Clarke has excellent sources for keeping current. He invites any editor or publisher of a qualified semiprozine who wants their zine added to contact him at neil(@)clarkesworldmagazine.com
A Few (Pointed) Observations of the 2020 Hugo Awards Ceremony
By Chris M. Barkley: I usually don’t offer any commentary after the Hugo Awards are given out because the will of the voters has been expressed and as the song goes, “Some will win, some will lose, some of them will sing the blues.”
And when you consider what happened last Saturday morning in Wellington, New Zealand, I think what unfolded may have looked really bad, but it could have been far, far worse.
Having said that, I think the CoNZealand Hugo Awards Ceremony team deserves a modicum of credit for bringing us a telecast of the awards at all under somewhat grueling circumstances; even though there were a number of other glitches that were glaringly evident as time went on.
THE HUGO AWARDS CEREMONY
Yes, the CoNZealand Hugo Awards Ceremony will probably go down as one of the longest and most poorly executed as of now and well into the near future. I am quite sure that everyone involved, and I definitely include George R.R. Martin and the CoNZealand production team had the best of intentions.
I believe that he, and Robert Silverberg, were trying to convey to a global audience the grand, sweeping history and the importance of the award, which is still, after sixty-seven (67!) years, the only prestigious literary award given to authors and artists by readers. But they took an awfully long time to convey that.
When planning something as arduous as the Hugo Awards Ceremony, the uppermost thing to keep in mind is that brevity and conciseness are your friends and droning on and boring your audience is not what you want under any circumstances. A VERY tight script would have redeemed this broadcast.
Also, and more importantly, GRRM and the producers on his end completely misread the audience tuning in. While his folksy reminiscing and cute anecdotes about the good old days of pre-internet fandom may have been entirely appropriate on a Worldcon panel (of which I have no doubt he has done countless times beforehand) his comments were perceived by the somewhat younger crowd as meandering, problematic and boring. His stories were about as meaningful and relevant as Henry Ford regaling Elon Musk about what a genius idea the production line was.
I am rather puzzled how GRRM, a seasoned writer/producer of several tv shows, could have possibly not foreseen this Titanic-sized iceberg in the making. And with at the very least five or so months of advanced planning, it was entirely avoidable.
But there’s the rub; this fiasco was NOT entirely GRRM’s fault. He had plenty of help.
Someone in CoNZealand’s end of the production and the producer in charge of GRRM’s studio, whom I do not know and cannot readily find, should have recognized the problems at the scripting stage and should be held ultimately responsible for this fiasco. And whomever they are, they should have provided GRRM with the proper pronunciations of the nominee’s names far in advance of the start of the Ceremony.
Very little responsibility should fall on the line producers of the broadcast, Directors Alan Bond and Dragos Ruiu, who were recruited late in the process.
The script GRRM and his producers had drafted by early July had a proposed running time in excess of OVER THREE HOURS, and that was without the recipients’ speeches! That’s as long as some of the more egregious Academy Awards telecasts of recent years. The final running time of the Ceremony (including the Hugo Award recipients’ speeches) clocked in at three hours thirty-four minutes and fifty-eight seconds. (And for those of you keeping score at home, no, it was not as long as Gone with the Wind; it would have needed yet another 24 minutes to accomplish that. But it sure FELT like it…)
Several days after CoNZealand ended and the bloody autopsies of the broadcast were in full swing, I came across a Facebook post that claimed that the original tech crew had been unceremoniously sacked and had to sign non-disclosure agreements to boot.
And then there was also this curious post from a recent File 770 comments page:
Chip Hitchcock on August 6, 2020 at 8:30 am wrote:
“@Soon Lee: I’m sympathetic to the issues brought up by having to pivot so close to curtain time. ISTM that the program book should not have been one of those, but the slow connections in the Hugo ceremony (explained in another thread as having been picked up on 3 days’ notice because the original team crumped) is understandable.”
Curious about these claims, I spent several days seeking out, contacting and speaking extensively with a source who worked on the convention. I can completely debunk and dispose both pieces of gossip:
The original technical crew did not “crump”. Nor were they sacked or forced to sign NDAs.
According to my source, the decision was made to replace the New Zealand crew by the American based production team on the evening of July 29 (the first day of the convention) at the request of the US-based producers. This request was made directly by them to the Events Division Head, Mel Duncan. The explanation that was offered was that the tech crew was too widely distributed across several time zones (AEST/NZST/PDT/EDT) and the producers wished to use a centralized crew based solely in the Pacific Daylight Time zone.
That is all fine and well in theory, BUT the original crew had already gone through several rehearsals already and may have been in a better position to handle the technical issues or difficulties that occurred. Or not. We’ll never know for certain.
One thing is certain, GRRM and the production team haven given the World Science Fiction Society a big, black eye. Needless to say, this terrible program has churned up a considerable amount of negative reactions from a wide spectrum of fans and critics. How bad? One acclaimed Hugo Nominated Best Series author, Tade Thompson, was so disgusted by the perceived racism (in praise of problematic writers and editors from generations ago) that he publicly announced on Twitter that he would no longer accept any future nominations from WSFS. So yes, really bad.
The BEST part of the broadcast was the acceptance speeches by the recipients, they were fantastic! In particular, I was especially happy for Jeannette Ng, whose speech at the Dublin 2019 Worldcon accepting the (now former) John W. Campbell Award for Best New Writer won the 2020 Best Related Work category. I was privileged to be in the room when it happened; her scathing condemnation of white privilege, fascism and racism was truly one of the most electrifying moments in modern literature and subsequently made headlines around the world. Ms. Ng’s acceptance speech was also heartfelt and stirring, too.
Of all of the fiction award winners, my only lament is that Ted Chiang’s magnificent novella, “Anxiety is the Dizziness of Freedom”, was bested by “This Is How You Lose the Time War”. But Amal El-Mohtar and Max Gladstone’s story was an epic tour-de-force and just as deserving.
THE 1945 RETRO-HUGOS
I had other concerns.
When the Retro-Hugo Awards were first established in 1996, it was generally thought that it would be a good idea to honor works of fantasy and science fiction from 50, 75 and 100 years ago. And now after honoring eight years (1938,1940, 1942-1945, 1950 and 1953), folks are having second thoughts about the whole endeavor.
The good news is that the late Leigh Brackett and artist Margaret Brundage were big winners. Brackett won twice, the first for her novel Shadow Over Mars (aka The Nemesis From Terra) and in the Best Related Work for her Writer’s Digest article, “The Science Fiction Field”. The late Ms. Brundage was honored as the Best Artist of 1944, primarily for her artwork that year for Weird Tales.
The bad news, as far as I was concerned, was yet another Short Form Editor award for John W. Campbell, Jr and a Best Series award for H.P. Lovecraft’s Cthulhu Mythos.
It seems to me it’s as though when the Retro-Hugos are handed out, the nominators and voters seem to punch Campbell’s award ticket EVERY SINGLE TIME. I freely admit that, without question, he was one of the most influential editors of 20th century sf literature. And despite being a bit of a weird, cranky, an eccentric and a virulent racist, he was revered by his peers and fans alike for decades.
And because of those beliefs, I don’t think that Campbell is held in such high regard by a majority of contemporary fans, writers and editors. But the Hugo Award is not given for a person’s beliefs and character, they are given for the work that has been done. And as much as I may dislike JWC as a person, there is no doubt he did some admirable work, in his era.
By my count, Campbell’s work has netted him fifteen Hugo Awards, eight of those being Retro-Hugos. The question I have is this; how much adulation is enough? Because it seems to me that even with some of the more recent revelations of Campbell’s true nature, there is a die-hard cadre of enthusiasts who will continue giving his surviving family members a Hugo Award in spite of those personal criticisms of his character.
Well, I stopped nominating and voting for John W. Campbell, Jr.on my Retro ballot years ago. Because there were other editors of that early era who deserve recognition, too.
As for H.P. Lovecraft, I also recognize that he has had a lasting influence in modern day fantasy and horror. He is also a very disturbing individual and racist whose writing style was admired by his contemporaries and many, many others after his death. Despite that, I have no love or admiration for his work, no matter what his personal views were.I find his works turgid, stomach-turning and generally unpleasant. So my opposition to honoring Lovecraft’s work is strictly aesthetic not personal.
In closing, I will note that Clifford Simak’s “Desertion”, the runner up in the Short Story category, was one of the most enthralling tales that I had ever read in my youth. It is a far superior story in comparison to the winner, Ray Bradbury’s “I, Rocket”. I think that Bradbury’s long literary shadow was at work here and I believe that honoring such an inferior story would shock and dismay him.
BEST SEMI-PROZONE and BEST EDITOR, LONG & SHORT FORM
Somewhere in the middle of this miasma of an awards show, both GRRM and author Robert Silverberg mused at length about the Best Semiprozine and the Long and Short Form Editing categories. Specifically, why were these awards named in such a manner.
Well, if they knew their Hugo Awards history, they would have known that the Semiprozine category was first awarded in 1984 and, according to Wikipedia, “…is given each year for semi-professionally-edited magazines related to science fiction or fantasy which had published four or more issues, with at least one issue appearing in the previous calendar year.” The award was dominated for decades by Locus Magazine (with 8 wins as Best Fanzine in the 13 years before the creation of the Semiprozine category, followed by another 22 wins until a WSFS Constitution rules change in 2012 made it ineligible in that category.)
I was so disgusted by this category and Locus’ repeated wins that I was once recruited by Discon III Fan Guest of Honor Ben Yalow to try and KILL it altogether at a WSFS Business Meeting. Obviously, we did not succeed, at least, in this timeline. But that’s another story for another day…
In the past decade, there have been meaningful attempts to draft a constitutional amendment to make this category more relevant (and ditch the unwieldy name as well).
This rather dovetails with Mr. Silverberg’s comments about how odd it was to have a long and short form award for editors. Having labored for three agonizing years in the conclave of SMOFs email lists and the Business Meetings, I can tell Mr. Silverberg that I was in the room where it happened and that he really, REALLY, doesn’t want to know how this particular sausage was made.
What I can tell you is that the intent of splitting up the Editing category was to find a way to honor magazine/anthology editors and book editors, who had been sadly neglected over the decades. How neglected, you may ask?
The last two Hugo Award winning book editors were Judy-Lynn Del Rey (1986) and Terry Carr (1987). Both were deceased by the time they were honored..
Ideally, in the 21st century, this mess can be easily solved by establishing the following categories:
Best Magazine: Any magazine (in print or online) related to science fiction or fantasy which had published four or more issues or edited volumes in the previous calendar year.
Best Anthology or Collection: Any Anthology of original stories or a single author collection related to science fiction or fantasy published in the previous calendar year.
Best Book Editor:The editor of at least four (4) novel length works primarily devoted to science fiction and / or fantasy published in the previous calendar year that do not qualify as a magazine or a website.
The only thing needed for the last category to work is the establishment of a uniform commitment by publishers to credit the novel’s editor in every book. Besty Wollheim of DAW Books has been working for the past two years to make this happen. Bravo to her!
There has been some disturbing news in the past few years that certain members of the Business Meeting might be open to abandoning the Book Editor category in favor of a Best Publisher or Imprint Award. I think that would be a terrible shame to shunt book editors back into the shadows after thirteen years in the limelight.
BEST DRAMATIC PRESENTATION LONG & SHORT FORM
One of the most egregious oversights this year was the omission of the HBO mini-series, Chernobyl from the Long Form category.
If fans had enough gumption to nominate a film like Hidden Figures, which brilliantly dramatized the work of African-American “calculators” who helped guide the Mercury spaceflight program of the 1960’s, what was the impediment to nominating the chilling and dystopian epic of the worst nuclear disaster on record?
In a similar vein, I practically shouted to anyone who would listen that fans should NOT nominate individual episodes of Watchmen, the acclaimed ten part series that served as a “indirect sequel” to Alan Moore and Dave Gibbon’s 1986 Hugo Award winning graphic novel.
And it ALMOST worked; an official statement from CoNZealnd’s Hugo Award Administrators posted on the voting results read as follows:
“Watchmen gained enough votes to qualify in this category (81), but two individual episodes also qualified for the Short Form category (“A God Walk Into Abar” 81, “This Extraordinary Being,” 54) with more votes collectively. The Administrators therefore removed Watchmen from this category.”
With Watchmen relegated to two episodes in the Short Form Category, the beneficiary of that move was The Rise of Skywalker, who slipped into the sixth spot with 75 nominations. Next in line was Spider-Man: Far From Home with 74 nominations. (See the 2020 Hugo voting statistics here.)
And what’s this? The entire season of Russian Doll was nominated????? Russian Doll but not Watchmen? That’s the year 2020 for you; all crazy, all of the time.
So with Chernobyl nowhere to be seen and Watchmen regulated out of the Long Form competition, is anyone surprised that the adaptation of Neil Gaiman and the late Terry Pratchett’s Good Omens (also nominated as a series) was the eventual winner? A good choice, yes, But personally, I’d like to think that Watchmen would have given them a run for their money.
In the Short Form category, the same story, same show, a related result:
“Good Omens: Hard Times (Episode 3)” gained enough votes to qualify in this category (108 nominations), but the entire series of Good Omens also qualified for the Long Form category, with more votes. The Administrators therefore removed “Good Omens: Hard Times” from this category.”
The beneficiary here? The Doctor Who episode “Resolution”, which was promoted on the ballot, just ahead of an episode of The Good Place, “Pandemonium”.
And as much as I like Michael Shur’s comedy of moral philosophy and demonic manners, I heart simply aches that “The Answer” was given the nod over two of Watchmen’s incredible episodes, “A God Walks into Abar” and “This Extraordinary Being.”
This sort of heartbreak could be avoided if the WSFS Business meeting would come to its senses and adopt the common sense solution that fellow fan Vincent Docherty and I formally proposed two years ago at ConJose (and can be found in Appendix B: 2018 Report of the Hugo Awards Study Committee, on page 27).
Best Dramatic Presentation: Series – Any TV or streaming series of four 60 minute episodes or more than 240 minutes.
Best Dramatic Presentation: Episodic Form – TV or any other dramatic form, 30-89 minutes.
Best Dramatic Presentation: Long Form – For films, audio books, theatrical productions, 90 minutes or more.
Best Dramatic Presentation: Short Form – Any dramatic form of 30 minutes or less.
Yes, FOUR categories of Dramatic Presentation. If anyone has a better idea, please step forward at the Business Meeting and be prepared to be hammered down.
So, until the proposal above comes to pass (or something like it), my advice to all of you nominating voters stands; if you love this year’s series of Agents of S.H.I.E.L.D., Homecoming, Lovecraft Country or The Umbrella Academy, DO NOT, DO NOT, DO NOT nominate individual episodes, nominate the whole series. That’s what the Long Form Category was created to honor in the first place.
THE LODESTAR AWARD FOR BEST YOUNG ADULT BOOK
No one has EVER explained to my complete and utter satisfaction as to why this cannot be a Hugo Award category.
I hope it happens one day. Soon.
In the meantime, CONGRATULATIONS to Naomi Kritzer for her winning book, Catfishing on CatNet. Well Done!
THIS award should be either a Hugo Award category OR renamed to honor the works and memory of Ursula K. Le Guin. At this point, either would suit me just fine. Just Sayin’…
52 publications that are currently eligible for the Hugo Award for Best Semiprozine;
Other semiprozines that are ineligible for the 2018 Hugos because they did not publish an issue in 2017;
Other zines that are ineligible for nomination as semiprozines because they are professional publications or fanzines (answering specific reader inquiries – not intended as an exhaustive list).
This is not an official list, but a tool that Clarke has excellent sources for keeping current. He invites any editor or publisher of a qualified semiprozine who wants their zine added to contact him at books(@)clarkesworld.com.
(1) CORTANA’S WRITERS. The Financial Times’ Emma Jacobs, in “Robots replacing our jobs? Microsoft’s Cortana is creating them”, interviewed Joanthan Foster, principal content publishing manager for Microsoft’s Cortana, who oversees a staff of 28 (including a children’s novelist and a playwright) tasked with giving this personal digital assistant a personality.
“Why, for example, does Cortana have to have a favourite movie? ‘Because people are asking that,’ says Mr Foster. For a while, her favourite film was ET (she skews to science fiction) but today it swings between Star Wars and Star Trek films. Her favourite TV show is Star Trek: The Next Generation.”
Another sf reference: Cortana’s name “is a reference to a buxom character clothed in a transparent sheath in the video game Halo.”
How to access this article – Look it up on Google and you will be able to click through to read it. If you use the link above directly, you will hit a paywall.
Then there’s the sleek new blue Boeing spacesuit that, at 20 pounds, weighs 10 pounds less than the one worn by shuttle astronauts. It comes with gloves that work on touch screens and lightweight boots designed by Reebok that feel like slippers. Instead of having a huge fishbowl bubble helmet, as the shuttle astronauts’ suits did, the new suit’s helmet slips over the head like a hood.
(3) MOVING POSTERS. Disney released a collection of motion posters featuring the cast of the upcoming live-action adaptation of Beauty and the Beast. UPI has the story.
(4) FANTASTIC FICTION AT KGB. On February 15 the hosts of the reading series, Ellen Datlow and Matthew Kressel, will present Michael Cisco and Nicholas Kaufmann. Begins 7 p.m. at the KGB Bar.
Michael Cisco is the author of several novels, including The Divinity Student, The Narrator, The Great Lover, Animal Money, The Wretch of the Sun, and a short story collection, Secret Hours. His fiction has appeared in The Weird, Lovecraft Unbound, and Black Wings (among others). His scholarly work has appeared in Lovecraft Studies, The Weird Fiction Review, Iranian Studies, and Lovecraft and Influence. He lives and teaches in New York City.
Nicholas Kaufmann’s work has been nominated for a Bram Stoker Award, a Thriller Award, and a Shirley Jackson Award. His novel Dying is My Business from St. Martin’s Press was selected for the Los Angeles Times Holiday Book Gift Guide, and the sequel, Die and Stay Dead, received a starred review from Publishers Weekly. His latest novel is In the Shadow of the Axe, out now from Crossroad Press with an introduction by Laird Barron.
Your Amazon.com account will not be affected by the closure of Write On. If you don’t have any content you wish to save, no further action is required on your part.
If you do have content you wish to save, we encourage you to download your posted and drafted stories by March 22.
(6) HURT OBIT. Actor John Hurt died January 25 at the age of 77. The Vanity Fair tribute listed some of his many genre credits –
The cause of death was not immediately reported; Hurt was diagnosed in 2015 with pancreatic cancer, but in October of that year announced that he was “thrilled” to have had his final scan, “and it‘s all gone brilliantly.”
… He earned his first BAFTA award in 1976, for playing gay author and ranconteur Quentin Crisp in the TV film The Naked Civil Servant; that same year, he played notorious Roman emperor Caligula in the TV film classic I, Claudius.
As a trained actor with a resonant voice and an unmistakable screen presence, Hurt could be a leading man—as in the 1984 version of George Orwell’s 1984 and David Lynch‘sThe Elephant Man—but may be more familiar to audiences as a supporting player, from the first, unlucky victim of the chestburster in 1979’s Alien to 2016’s Jackie, in which he plays a priest who has the ear of a mourning Jacqueline Kennedy. He earned Oscar nominations for his roles in 1979‘s Midnight Express, as a heroin addict doing time in a Turkish prison, and in The Elephant Man. He’ll also be remembered by a generation of children as the mysterious Mr. Ollivander, wand salesman, from the Harry Potter films. And thanks to a 2013 appearance as the War Doctor on Doctor Who, he will also forever belong to a legion of fans.
In the last decade of his career alone, Hurt worked with some of the world’s most fascinating directors, from Guillermo del Toro in the Hellboy series to Steven Spielberg on Indiana Jones and the Kingdom of the Crystal Skull to Lars von Trier on Melancholia to Joon-ho Bong on Snowpiercer.
— To which we can add The War Doctor in Doctor Who, the voices of Aragorn and Hazel (the rabbit) in the animated Lord of the Rings and Watership Down respectively, and still be guilty of leaving some out.
During his career of 26 years, he also participated in the creation of 17 albums of ‘The Smurfs’ (‘Les Schtroumpfs’), and was the lead artist on at least six albums since 2002. The other regular Smurfs artists are Ludo Borecki, Jeroen de Coninck and Miguel Díaz Vizoso, while most of the writing is done by Thierry Culliford, Alain Jost and Luc Parthoens. Garray had just finished drawing the 35th Smurfs album (‘Les Schtroumpfs et les Haricots Mauves’, about bad eating habits), when he passed away on 17 January 2017.
With luck, this won’t be as controversial as it was last year. We’ve made it clearer that you’re supposed to use this data to vet a list of editors of works you’ve read—not to construct a slate of people whose publications you’ve never read (or even heard of).
Since people are more likely to know works than editors, we start by helping them find the editors who produced different publications. It’s a lot of work to figure out who’s qualified, so we’ve done that too.
Then, like last year, we show how much work each editor produced and how well that work was reviewed—both in terms of word count and percentage, which we encourage people to use to see how the editors in their list stack up.
New this year is a chart showing how much fiction from new writers each editor published, since this was the commonest thing people asked for last year. There are also sortable tables with the raw data so people don’t need to stare at charts to try to guess which editors were in the top four or five.
As ever, we’d love to hear ideas for what would make this easier to do.
(10) SEMIPROZINE HUGO. Neil Clarke’s Semiprozine.org announced last month they are “Currently updating directory”, which hopefully will happen soon because I need an authoritative answer to settle a difference of opinion!
We are currently updating the directory to reflect any changes in eligibility for the year ending December 31, 2016. Feel free to comment on this post if you have questions.
This is truly the Golden Age for science fiction and fantasy on television, with more interesting series than ever before… most of them serial dramas. WESTWORLD, for instance. Terrific show. But the entire season is one story. To me, it makes no sense to pick an episode at random and nominate it in Short Form, when every episode depended so much on what had come before and what was to follow. I will be nominating WESTWORLD season one in Long Form, and I urge other WESTWORLD fans to do the same. Then we have STRANGER THINGS, recent Golden Globe nominee, another cool new genre show… I loved the series, but looking back, did I love one episode? No, I loved the whole story, so I’d nominate STRANGER THINGS, season one. Ditto for PENNY DREADFUL, the final season, which wrapped up in fine style last year. You could also make a case for MR. ROBOT, if you consider that sf.
And, of course, there’s GAME OF THRONES. Our sixth season won an unprecedented number of Emmys, setting an all-time record. And there are individual episodes that won Emmy acclaim: David Benioff and D.B. Weiss won for writing for “Battle of the Bastards,” Miguel Sapochnik took the directing Emmy for the same episode, and “The Door” also earned a directing nomination for Jack Bender. But it was the season as a whole that won for Best Drama, and for me, at least, it makes the most sense to nominate GAME OF THRONES, season six, in Long Form.
(12) GREATEST ANIMATOR. Brian Phillips on MTV.com has an article called “The Little Gray Wolf Will Come”, a profile of Yuri Norstein, whose short films “Tale of Tales” and “Hedgehog in the Fog” are regarded as among the greatest pieces of Soviet animation but who has been stuck for 40 years working on a full-length version of Gogol’s The Overcoat that he may never finish.
Here he is, an old man, onstage at the Dom Kino. Cinephiles of Moscow, your evening’s entertainment: Yuri Norstein, 74, white-bearded, small, stout, urbane, rumpled, and mischievous. Sitting in front of a pale gold curtain, with a bump on his nose the size of a pistachio shell. Considered by many to be a great, if tragically self-defeating, Russian artist. Considered by many to be the finest animator in the world.
He did not move to Moscow last week; he knows what they say about him. How he sabotaged his own career at what should have been its peak. How he has not managed to release a new film in 37 years. How he made Hedgehog in the Fog, a movie every Russian child knows by heart, and then Tale of Tales, which international juries have more than once named the greatest animated picture ever made. How he threw it all away to chase an absurd, unattainable ideal, an animated adaptation of Gogol’s short story “The Overcoat” that he has toiled at for nearly 40 years and has never been able to finish. He takes questions at events like this, and the sequence is always the same. First a few respectful queries about his past work, his process, his inspirations. Then, when some brink of nerve has been crossed: When will you finish The Overcoat? Do you think you ever will?
First predicted by Nobel-Prize winning theoretical physicist Frank Wilczek back in 2012, time crystals are structures that appear to have movement even at their lowest energy state, known as a ground state.
Usually when a material is in ground state, also known as the zero-point energy of a system, it means movement should theoretically be impossible, because that would require it to expend energy.
But Wilczek predicted that this might not actually be the case for time crystals.
Normal crystals have an atomic structure that repeats in space – just like the carbon lattice of a diamond. But, just like a ruby or a diamond, they’re motionless because they’re in equilibrium in their ground state.
But time crystals have a structure that repeats in time, not just in space. And it keep oscillating in its ground state.
Imagine it like jelly – when you tap it, it repeatedly jiggles. The same thing happens in time crystals, but the big difference here is that the motion occurs without any energy.
A time crystal is like constantly oscillating jelly in its natural, ground state, and that’s what makes it a whole new form of matter – non-equilibrium matter. It’s incapable of sitting still.
(14) WHAT THE DOCTOR SAYS. David Tennant told The Last Leg viewers it’s all going to be okay:
[Thanks to Dawn Incoognito, Cat Eldridge, Martin Morse Wooster, JJ, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day J-Grizz.]
The other day I received an email from Neil Clarke. He owns Clarkesworld Magazine and he maintains the directory of Semiprozine publications for the edification of Hugo Award voters. With the recent ascendancy of Apex Magazine and my transition to full-time publisher/editor, he wanted to inquire regarding the magazine’s Semiprozine candidacy.
He made the observation that from the outside, it appeared ` was now a pro-zine. As it turned out, Neil was correct.
At first, I was bummed out. We’ve been Hugo Award-nominated three of the last four years in the Best Semiprozine category. We had a strong 2015 and had hopes of receiving a fourth nomination.
Then it occurred to me that matriculating from the ‘semiprozine’ level is itself an achievement and noteworthy. It’s 10+ years of work and tens of thousands of dollars of effort to reach this level. I’m proud that Apex Magazine now exists on the same plane as Clarkesworld, F&SF, and Locus.
Two Four titles have graduated from the category, however, the list of semiprozines continues to grow. Comparing Clarke’s current list with the directory from last April, I found these new additions:
The Doctor and his Companion, by Claude Monet (oil on canvas, 1875), a painting dating from a most fertile phase of the renowned French Impressionist’s career, was recently discovered in the attic of a house in Argenteuil in which Monet lived in the 1870s. Little is known of the subjects depicted as the artist left no notes as to their identity or relationship to him. No particulars on the gentleman or lady are to be found, either, in the local historical records of the time and the odd structure beside which the gentleman is standing remains a puzzle. Civic records offer no indication that such a structure ever existed, as if this curious blue box simply appeared out of thin air, and then disappeared just as mysteriously. The title of the work gives us our only clue as to the two subjects, suggesting that the gentleman was, perhaps, a medical doctor travelling with a female relative, Fiancée, or mistress. MonSFFA’s own Keith Braithwaite worked on the restoration of the painting.
The space opera sequel is moving up the all-time domestic box office charts at a record clip and now is poised to overtake those pointy eared blue aliens as the top grossing film in history. Avatar earned $760.5 million during its stateside run and Star Wars: The Force Awakens has generated $740.4 million domestically after picking up $88.3 million over New Year’s weekend. It should take the crown from Avatar early next week.
Q: Then why are they being sued? Paramount allows lots of these things, don’t they?
A: Oh, yeah. “Star Trek Renegades”, “Star Trek: Of Gods and Men”, “Star Trek Continues”…basically, it seems like as long as nobody’s making any money, Paramount turns a blind eye to these fan films.
Q: But this one they wouldn’t? Why?
A: Well, there is the fact that, in an update on Axanar’s Indigogo campaign, they said, “EVERYTHING costs more when you are a professional production and not a fan film. All of this and more is explained, along with our budget of how we spent the money in the Axanar Annual Report.”
And in that latest annual budget report, they said, “First and foremost, it is important to remember that what started out as a glorified fan film is now a fully professional production. That means we do things like a studio would. And of course, that means things cost more. We don’t cut corners. We don’t ask people to work full time for no pay. And the results speak for themselves.”
“Please note that we are a professional production and thus RUN like a professional production. That means our full time employees get paid. Not much honestly, but everyone has bills to pay and if you work full time for Axanar, you get paid.
Also, no other fan film has production insurance like we do. We pay $ 12,000 a year for that. Again, a professional production.”
Also, in their Indiegogo FAQ, they had this little gem:
“Q: What is Axanar Productions?
Axanar is not just an independent Star Trek film; it is the beginning of a whole new way that fans can get the content they want, by funding it themselves. Why dump hundreds or thousands of dollars a year on 400 cable channels, when what you really want is a few good sci-fi shows? Hollywood is changing. Netflix, Hulu, Amazon, and other providers are redefining content delivery, and Axanar Productions/Ares Studios hopes to be part of that movement.”
Which kind of contradicts the “fan film” statement.
Will Smith found it unpleasant to learn that the fat lady had sung on Steven Hiller, the character he played in 1996’s Independence Day. “It was terrible when I found out my character died,” Smith told Yahoo.
Hiller’s death was revealed on a viral site for Independence Day: Resurgence. “While test piloting the ESD’s first alien hybrid fighter, an unknown malfunction causes the untimely death of Col. Hiller,” the site’s timeline reads. “Hiller’s valor in the War of ’96 made him a beloved global icon whose selfless assault against the alien mothership lead directly to the enemy’s defeat. He is survived by his wife Jasmine and his son Dylan.” You can see an image of Hiller’s fiery death by clicking here.
(7) JEFFRO MOVES UP. Vox Day is delegating management of the Castalia House blog to “The new sheriff in town”, Jeffro Johnson:
As Castalia House has grown, it has become increasingly difficult to balance my responsibilities as Lead Editor and as the manager of this blog. Because Castalia House shoots for excellence across the board, I have decided that it is time to step back and hand over my responsibilities for this blog to someone else.
And who is better suited to take it over than one of the very best bloggers in science fiction and gaming? I am absolutely delighted to announce that the Castalia House blogger, author of the epic Chapter N series, and 2015 Hugo nominee for Best Fan Writer, Jeffro Johnson, has agreed to accept the position of Blog Editor at Castalia House.
Even I occasionally forget how fragile these psychologically decrepit specimens are. Anyhow, it’s a good reminder to ALWAYS USE RHETORIC on them. They’re vulnerable to it; they can’t take it. That’s why they resort to it even when it doesn’t make sense in the context of a discussion, because they are trying to make you feel the emotional pain that they feel whenever they are criticized.
January 3, 1841 — Herman Melville ships out on the whaler Acushnet to the South Seas.
(10) TODAY’S BIRTHDAY BOY
Born January 3, 1892 – J.R.R. Tolkien, honored by Emily Asher-Perrin at Tor.com:
But of course, the world remembers Tolkien for changing the fantasy genre forever. By penning The Hobbit and The Lord of the Rings, Tolkien set a framework for fantasy literature that countless authors have attempted to recapture over the years. The creation of Middle-earth, from its languages to its poetry to its rich cultural history and varied peoples, was an astounding feat of imagination that no one had managed before with such detail and ardent care.
And it’s a philosophy that has led to him turning down parts in some guaranteed smashes and lots of cha-ching. He recently revealed that he actually met with George Lucas, but ultimately passed on playing Anakin Skywalker in the ‘Star Wars’ prequels.
“I did have a meeting with George Lucas about that, yes. I just didn’t feel ready to take that dive. At that point.”
Around this time, DiCaprio instead chose to make ‘Gangs of New York’ and ‘Catch Me If You Can’, the latter of which earned him a Golden Globe nomination.
Still he must be kicking himself. The role instead went to Hayden Christiansen and look at how his career took… oh, ahem. Nevermind.
(13) REMEMBERING BAEN. While researching another post, I rediscovered David Drake’s 2006 tribute to the late Jim Baen, who had just recently passed. Shortly before Baen’s death the two were on the phone and Baen asked, “You seem to like me. Why?” The answer is rather touching.
And then I thought further and said that when I was sure my career was tanking–
“You thought that? When was that?”
In the mid ’90s, I explained, when Military SF was going down the tubes with the downsizing of the military. But when I was at my lowest point, which was very low, I thought, “I can write two books a year. And Jim will pay me $20K apiece for them–”
“I’d have paid a lot more than that!”
And I explained that this wasn’t about reality: this was me in the irrational depths of real depression. And even when I was most depressed and most irrational, I knew in my heart that Jim Baen would pay me enough to keep me alive, because he was that sort of person. He’d done that for Keith Laumer whom he disliked, because Laumer had been an author Jim looked for when he was starting to read SF.
I could not get so crazy and depressed that I didn’t trust Jim Baen to stand by me if I needed him. I don’t know a better statement than that to sum up what was important about Jim, as a man and as a friend.
(14) PEACE IN OUR TIME. In “The Stormbunnies and Crybullies”, John C. Wright devotes over 2,000 words to making his closing offer irresistible in that special way only he knows how.
But I am a forgiving man, jovial and magnanimous. I make the following peace offer: Go your way. Cease to interfere with me and my livelihood, do your work, cease to libel me and meddle with my affairs, withhold your tongue from venom and your works from wickedness, and we shall all get along famously.
Otherwise, it is against my self interest to seek peace with you. Peace is a two sided affair: both parties must agree. So far only Mr. Martin has even expressed a desire for it.
THE SATYRS OF MOUNT OUTLET: Like its cousin Olympus, Mount Outlet stretches far beyond human sight into luxurious billowy clouds. The work its satyrs produce is sharp and daring. Vast networks of bloggers, freelancers, and even reporters churn out viral but self-aware listicles, personal essays that make me cry more than they should, and short stories so good I’m inclined to simply put my pen away. On Twitter, their satyrs (editors) trade barbs and witticisms with the speed of a Gatling gun. A poor peasant like me may approach the foot of the mountain, but my tattered, unworthy scrolls and I will soon turn around and head home.
Tweet a picture of our book. Put it on Facebook. People in your network ARE noticing. Peer review and approval is paramount in the digital age. And don’t support your favorite author on Goodreads as a first choice (AMAZON reviews are better). The only people hanging out on Goodreads for the most part are other writers and book trolls.
Support us on your regular Facebook page or Instagram or Twitter. Because when you post a great new book you LOVED your regular friends see that. When they get stranded in an Urgent Care or an airport? What will they remember? THAT BOOK. They won’t be on Goodreads. Trust me.
(17) DISSONANCE. After reading Kristen Lamb’s discouraging words, I encountered M. L. Brennan calling for everyone to get up and dance because “Generation V earned out and what that means”. That’s not the next post I’d have expected to see, straight from leaving Lamb’s black-crepe-draped explanation of the publishing industry.
One thing to bear in mind, because it’s easy to lose sight of it when you look at that last paragraph — if I hadn’t received an advance, I wouldn’t have made more money on this book. I would still have earned $7615.78 on the series — except earning that first $7500 would have taken me two years, rather than being entirely in my pocket on the day that Generation V hit the bookstores. And that $7500 paid my mortgage, my electric bill, and other bills, which made it substantially easier for me to write. Without that advance, it would’ve taken me longer to write Iron Night, Tainted Blood, and even Dark Ascension, because I would’ve been having to hustle other work elsewhere and spend less time writing.
LAST JULY, Pakistani science fiction writer Usman Malik published a clarion call for his home country. In it, he made the claim that “[e]ncouraging science fiction, fantasy, and horror readership has the potential to alleviate or fix many of Pakistan’s problems.” While it would be difficult to disagree with the idea that science fiction is a positive force in the world, many of Malik’s reasons for championing the genre are problematic. To begin with, Malik — along with just about everyone else — still, for some reason, calls “science fiction” science fiction. His essay actually contains a handful of reasons why we should stop calling it “science fiction,” and it also inadvertently addresses how and why we need to liberate ourselves from genre itself — and how “science fiction” can help us do just that.
(19) PLANNING BEGINS: Paul Johnson’s early word is that the event to honor his father, the late George Clayton Johnson, might be in February at the Egyptian Theater in Hollywood.
[Thanks to John King Tarpinian, Will R., Paul Weimer, Brian Z., and JJ for some of these stories. Title credit goes to File 770 contributing editor of the day Will R.]
The combined income from Clarkesworld (and its parent, Wyrm Publishing) has just barely crossed the threshold for semiprozine eligibility. We are NOT eligible for nomination this year.This is a very good sign for the future of Clarkesworld and gives me continued hope that someday I’ll be able to make this my full-time career.
Under rules changes that took effect in 2013, a magazine is excluded from the category if —
(1) it provided at least a quarter the income of any oneperson or,
(2) was owned or published by any entity which provided at least a quarter the income of any of its staff and/or owner.
Clarke reminded everyone he remains eligible in the Best Editor (Short Form) Hugo category, where he was a nominee in 2012 and 2013.
Clarke’s self-disclosure helps make a success of the new rule, which contains no means of verifying the status of nominees.
Semiprozine.org, which Clarke launched in 2009, lists formerly eligible magazines and the reason for their change in status:
No longer eligible for the Hugo Award for Best Semiprozine:
Ansible – according to new rules, this publication is a fanzine
Apex Publications has increased what Apex Magazine contributors are paid for their nonfiction, reprints, and artwork. “Thanks to the increase in the number of subscribers and single issue copies sold, we’re able to do this for our writers and artists,” says publisher Jason Sizemore. Apex Magazine was a 2012 nominee for the Best Semiprozine Hugo.
Payment for nonfiction will double, going from $25 to $50.
Payment for artwork will increase 20%, going from $50 to $60.
Reprints will be bought for $.01 per word, up to 5,000 words (previously, it was a flat $25).
These increases in pay rates will become effective with issue 50.
Apex Magazine editor-in-chief Lynne M. Thomas and I have goals of bringing our readers a third original story per issue, a second reprint, and to produce a nice podcast. Of course, that takes money (quite a bit of money), meaning we need to gain more subscribers and sell more issues. You can bet Lynne and I will work hard to keep Apex Magazine awesome to make sure this happens!
What any fan thinks about the Semiprozine Committee’s and Rich Lynch’s proposals to change the fan publishing Hugo rules will inevitably depend on what he or she thought needed to be fixed in the first place.
So I’ll lead into my comments by listing what I believe, with a brief explanation:
Audio and video presentations should be ruled out of the fanzine category.
Text-based publications should not be grouped with unrelated items for the same reason we don’t lump novels and dramatic presentations into a single category.
Zines that pay contributors, owners or staff, which otherwise qualify in the fanzine category, should compete in the semiprozine category.
I advocate this as a way of creating an enforceable definition of semiprozine.
All rules must define the terms they use – professional, nonprofessional, issue, “equivalent in other media.”
The current rules define none of these terms. People cannot be sure what is eligible in the fanzine category, which deters participation.
No standard of performance or measurement ought to part of a rule unless the data needed to evaluate it can be easily obtained by the Hugo Administrator.
There must be practical means of enforcing any rules. Fandom neither wants nor rewards activist Hugo Administrators.
I. The Committee’s Report: Did the Semiprozine Committee report deliver? Let’s see.
The majority report proposes four changes.
(1) New criteria for semiprozine:
Amend the sections 3.3.12 and 3.3.13, by replacing them with:
3.3.12: Best Semiprozine. Any generally available non-professional publication devoted to science fiction or fantasy, or related subjects which by the close of the previous calendar year has published four (4) or more issues (or the equivalent in other media), at least one (1) of which appeared in the previous calendar year, and which in the previous calendar year met at least one (1) of the following criteria:
(1) paid its contributors and/or staff in other than copies of the publication,
(2) was generally available only for paid purchase,
The proposed amendment’s most impressive feature is that it discards the antiquated criteria regarding printed copies and advertising space. I’m satisfied the two remaining criteria are the best litmus tests for semiprozines – payment to participants, copies primarily available to purchasers. And these are performance/measurement-based criteria a Hugo Administrator can evaluate from readily-available information.
Interestingly, the Committee’s proposal eliminates the right an editor currently has to move a zine into semiprozine category by declaration. As a result, Langford’s Ansible would be welcomed back to the fanzine category.
The amendment’s main shortcoming is its failure to define “issue” and “the equivalent in other media.” One virtue of Rich Lynch’s proposal (discussed below) is that its terms are defined.
(2) Best Fanzine modified: The Committee has made neutral changes to the Best Fanzine rule to conform it to the revised semiprozine criteria:
3.3.13: Best Fanzine. Any generally available non-professional publication devoted to science fiction, fantasy, or related subjects which by the close of the previous calendar year has published four (4) or more issues (or the equivalent in other media), at least one (1) of which appeared in the previous calendar year, and which in the previous calendar year met neither of the following criteria:
(1) paid its contributors and/or staff in other than copies of the publication,
(2) was generally available only for paid purchase,
The old rule excluded anything that qualified as a semiprozine; the new wording serves the same purpose.
Unfortunately, the Committee has done nothing about the eligibility of podcasts and its report explicitly states StarShip Sofa will continue to qualify as a fanzine under its version of the rules.
(3) A definition for “professional publication”: The Committee proposes to put a working definition of “professional publication” back in to the WSFS Constitution. Their intentions are right on target, the rules have been in want of a new definition of “professional” since the old one was erased as a side-effect of other changes.
However, the reason a definition of “professional” is needed is not to keep Asimov’s, Analog and F&SF out of the pastures of fandom. Almost none of the “pro” Hugo categories – for fiction, editing and art – actually includes “professional publication” as a condition of eligibility. Best Professional Artist alone has that requirement.
The real need for defining “professional” is to disqualify ineligible entrants from the semiprozine and fan categories by giving constitutional meaning to the antonym “non-professional publications.”
The Committee’s definition is in this proposal:
Add a new section: 3.Y.Z: A Professional Publication is one which meets at least one of the following two criteria:
(1) it provided at least a quarter the income of any one person or,
(2) was owned or published by any entity which provided at least a quarter the income of any of its staff and/or owner.
The proposed language sounds very precise, which is of little help because in practice the rule will depend on voluntary compliance, being impractical to enforce.
Consider: Semiprozines aspire to commercial success, whether or not they depend on it. If lightning strikes, what then? Charlie Brown once told me he depended on winning the Hugo every year to drive Locus’ subscription sales. That leads me to believe no semiprozine publisher will want to give up the market appeal of a succession of Hugo nominations.
In Charlie Brown’s day the print media criteria were sufficient to classify Locus as a semiprozine. Nobody had to ask him for income information to apply this new one-quarter test, which presumably would lead to Locus being reclassified as a prozine. Can you imagine how Charlie would have answered? Business reasons and privacy motives will keep prospective nominees from cooperating with the enforcement of this rule.
(4) The Hammer? The Committee already anticipated my last criticism with its final proposal:
Add to the end of Section 3.9 (Notification and Acceptance):
Additionally, each nominee in the categories of Best Fanzine and Best Semi-Prozine shall be required to confirm that they meet the qualifications of their category.
But what will that mean in practice? The rule doesn’t define what prospective nominees will be required to do to confirm eligibility. Does that mean continuing the policy of self-certification with polite “do-you-think-you-are-eligible?” e-mails of the sort this year’s Hugo Administrator sent out? If the plan is to take everybody’s word for it, there’s no need for this rule.
Saul Jaffe’s minority report, appealing for better draftsmanship, is on target. If it is not fairly obvious who is eligible in a category there is a major problem with the Hugo rule, because it will never be cured by enforcement.
II. Rich Lynch’s Amendments
The latest version of Rich Lynch’s proposals I know about are on his LiveJournal:
Proposed WSFS Constitutional Amendments to keep the Fanzine Hugo non-professional and limited to words on paper or video screen.
(Note: strikeouts indicate proposed deletions and underlined text proposed additions.)
3.3.12: Best Semiprozine. Any generally available non-professionalperiodical publication devoted to science fiction or fantasy which by the close of the previous calendar year has published four (4) or more issues (or the equivalent in other media), at least one (1) of which appeared in the previous calendar year, and which in the previous calendar year met at least two (2)one (1) of the following criteria:
(1) had an average press run of at least one thousand (1000) copies per issue, (2) paid its contributors and/or staff in other than copies of the publication, (3)(2) provided at least half the income of any one person, (4)(3) had at least fifteen percent (15%) of its total space occupied by advertising, (5)(4) announced itself to be a semiprozine. Audio and video productions are excluded from this category.
3.3.13 Best Fan Audio or Video Production. Any generally available non-professional audio or video production devoted to science fiction, fantasy, or related subjects which by the close of the previous calendar year has had four (4) or more episodes or podcasts, at least one (1) of which appeared in the previous calendar year.
18.104.22.168.14: Best Fanzine. Any generally available non-professional periodical publication devoted to science fiction, fantasy, or related subjects which by the close of the previous calendar year has published four (4) or more issues (or the equivalent in other media), at least one (1) of which appeared in the previous calendar year, and which does not qualify as a semiprozine. Audio and video productions are excluded from this category, as are publications that pay their contributors and/or staff monetarily.
Lynch’s amendments make changes I support. They
Identify semiprozines and fanzines as reading experiences — words on a page (appearing on paper or screen) — by ruling audio and video productions out of the category
Define semiprozines and fanzines as periodical publications – appearing in discrete, individual issues (similar to a magazine)
Limit eligibility for Best Fanzine to amateur zines by restricting those that pay contributors or staff
Some other features trouble me. His Best Fan Audio or Video Production amendment creates a new category for podcasts, videocasts, etc. – like last year’s winner StarShip Sofa – that would be excluded from the Best Semiprozine and Best Fanzine categories if his changes go through. I think that idea for a new award category should be left to find its own supporters, and not be packaged as though it is a goal of fanzine fans. It rings a false note.
Lynch’s semiprozine definition fails to go far enough, leaving in place outdated print media criteria (average press run), criteria an external observer can’t check (income), or have no practical application for blogs and websites (15% of space occupied by advertising). However, Lynch would argue my last complaint isn’t a problem — he interprets his amendments to rule websites and blogs out of contention in the zine categories.
III. Thinking Out Loud
Rich Lynch has my thanks for advancing the public discussion of these issues with his motions. And they are the only proposals to plainly state that fanzines are text-based and should not be competing with items that resemble dramatic presentations.
While I like several of the Semiprozine Committee’s ideas for changing the semipro and fanzine category definitions, more needs to be done. I’d like to see the “issue” definition problem solved by including Lynch’s chosen word “periodical.” And I would like to focus the zine categories on text by adding Lynch’s phrase “Audio and video productions are excluded from this category” to the Committee’s semiprozine and fanzine rule proposals.
We’ll see how it all plays out next week at the 2011 Business Meeting.
Deserina Boskovich and Genevieve Valentine will be the featured writers at the New York Review of Science Fiction Readings on November 2, 2010. That evening Guest Curator Neil Clarke of Clarkesworld Magazine will be celebrating the Hugo-winning semiprozine’s 50th issue, coming out in November.