Long List Anthology Vol 2 Kickstarter!

written by David Steffen

long-list-antho-cover-art-color-comp-lg-1The Kickstarter has been launched for the Long List Anthology Volume 2!

Same premise as last year, to put together an anthology of works from the longer Hugo Award nomination list.  This year, Galen Dara has been commissioned for original cover art–the art at the top of the post is not the final version, it is a color proof of the art, but the final version will be shared as soon as possible.

Check out the rewards, besides copies of the books there are critiques from Martin L. Shoemaker, Sunil Patel, Erica Satifka and myself.

Check out the Kickstarter page for additional information, but here’s the list of the stories that will be included if funding levels are reached.

Short Stories and Letters (base goal)

  • “Three Cups of Grief, By Starlight” by Aliette de Bodard
  • “Madeleine” by Amal El-Mohtar
  • “Pockets” by Amal El-Mohtar
  • “Tuesdays With Molakesh the Destroyer” by Megan Grey
  • “The Women You Didn’t See” by Nicola Griffith (a letter from Letters to Tiptree)
  • “Damage” by David D. Levine
  • “Neat Things” by Seanan McGuire (a letter from Letters To Tiptree)
  • “Today I Am Paul” by Martin L. Shoemaker
  • “Pocosin” by Ursula Vernon
  • “Wooden Feathers” by Ursula Vernon
  • “Hungry Daughters of Starving Mothers” by Alyssa Wong

Novelettes (stretch goal at $3900)

  • “The Heart’s Filthy Lesson” by Elizabeth Bear
  • “So Much Cooking” by Naomi Kritzer
  • “Another Word For World” by Ann Leckie
  • “Grandmother-nai-Leylit’s Cloth of Winds” by Rose Lemberg
  • “The Deepwater Bride” by Tamsyn Muir
  • “The Long Goodnight of Violet Wild” by Catherynne M. Valente
  • Up to 1 other

Novellas (stretch goal at $5000)

  • “The Pauper Prince and the Eucalyptus Jinn” by Usman T. Malik
  • “The Sorcerer of the Wildeeps” by Kai Ashante Wilson

Anime Catch-Up Review: Knights of Sidonia

written by Laurie Tom

knightsofsidonia

Knights of Sidonia is one of the few anime series in recent years that was brought over to the US, but never simulcast. While I heard the series was good, it missed a lot of the seasonal round-ups because no one could watch it during its original airing.

I finally had the opportunity see it and decided to give it a shot, even though I heard that the second half doesn’t hold up to the first.

If you like hard science fiction in your anime though, the first half will entertain you plenty, as a lot of things that go unaccounted for in other series (like the fact a combat pilot in a cockpit needs some way of urinating without ruining his spacesuit) are called out and accounted for.

The sheer grittiness of the characters’ situation calls to mind similarities to 2013’s hit Attack on Titan. Once again we follow the last known bastion of human civilization, fighting a relentless enemy that cannot be communicated or reasoned with. Characters are introduced and wiped out, and tough decisions are made between the lives of a few or the survival of humanity.

For unknown reasons, the spaceship-sized aliens called gauna attacked and destroyed the Earth centuries ago, scattering what remained of humanity on hundreds on seed ships. As far as the crew of the Sidonia is aware, they are the only remaining ship and they have just 28 kabizashi spears, which are the only weapons capable of piercing and destroying the core of a gauna, preventing their regeneration.

Due to the devastation caused to Sidonia in its the last war with the gauna and the loss of food processing facilities, children born in the past hundred years have been genetically modified to photosynthesize and only eat normal food about once a week. In order to rebuild population numbers, there are also a number of clones and humanity now has a third gender, which eventually develops into male or female depending on the partner they choose.

Knights of Sidonia is animated almost entirely by computer. Though the character designs reflect the old hand-drawn anime style, it’s often possible to see how they look a little “off” due to being computer models, but using CG has its advantages. The Sidonia has been sailing for at least six hundred years, and the ship, the mecha, even the pilots’ suits have a scuffed, lived-in look that would have been hard to conventionally animate.

The story follows one particular pilot, Nagate Tanikaze, who has a history he (but not the audience) is largely unaware of. Though he starts out an oddity for his inability to photosynthesize, he turns out to be a fantastic pilot, largely because he’s trained in a simulator since childhood to use one particular model.

Nagate ends up having other advantages in his court, but at least in the first half of the show, it doesn’t feel like he’s a superhero so much as extremely competent. He might be a hero who comes out of nowhere, but there’s a foundation for it and winning battles is a team effort. By the second half it’s a little more wearing as Nagate is the one who gets all the mecha upgrades, and gets to do all the cool stuff, when one would think the Sidonia would spread the love around with their other pilots.

Since the show does not cover the full length of the manga, it ends on a major combat victory rather than a story arc, leaving the intentions of several characters unanswered. The second half of the show in particular feels like someone hit the fast forward to make sure the story hit that battle before ending.

It’s not that the plot feels rushed so much as details are glossed over and the fallout of certain actions don’t feel fully considered. Things that ought to be a major power shift just happen and everyone accepts it.

Knights of Sidonia is also oddly two-faced about its treatment of women. On the one hand there are no shortages of capable women, from the most senior combat pilot on Sidonia, to the ship’s subcommander (effectively their battle tactician), to the Sidonia captain herself. Uniforms are practical and nobody questions their skills or position on account of gender.

But there are several shots of female characters photosynthesizing (which requires nudity). They aren’t particularly male gazey since the shot may be in the distance or focus on their faces, but this never happens with the men. Also, just about every female or potentially female character in Tanikaze’s social circle seems to dig him in a potentially romantic manner.

If anyone’s emotions override their sensibilities in combat to the point they’re sobbing and not listening anymore, it’s always a female pilot, so while some women in the show kick major ass, there are times that feel like the writer needed someone to be emotionally broken up so he picked one of the women. There’s one early female pilot death that had me shaking my head because given her rank she should have been made of sterner stuff.

Unusually for anime, there is also a non-binary/third gender character, though the English subtitles don’t treat them particularly kindly. When Nagate has trouble figuring out their gender, Izana says people like them aren’t specifically male or female, instead taking on characteristics of the opposite gender when they choose a partner.

Unfortunately, the subtitles (and presumably the dub) default to referring to Izana as “she,” most likely because Izana sounds like and is played by a woman. The only character who specifically refers to Izana as a “he” is another woman, specifically because she doesn’t want Izana to become fond enough of Nagate to transition, but technically Izana isn’t either. This would have been less of a problem in Japanese since it’s not a gendered language and it’s very easy to talk about someone in the third person without revealing whether they’re a man, woman, or something else.

It feels like a terrible case of miscasting though, because Izana’s voice is so female that when I first saw them I didn’t realize the reason Nagate was staring was because he couldn’t figure out their gender. Izana has a slender build and stands the same height as the other female characters, with the primary difference being a flat chest, and that wasn’t enough to visually read as third gender. In retrospect the only way I might have known otherwise is that Izana’s cadet uniform is not the one worn by women.

Considering that there are many Japanese women who play convincing teenage boy roles in anime, it’s disappointing the casting director couldn’t have found one for Izana, which would have helped give the viewer the same impression as Nagate.

Though I wish there was a legal free streaming option, I have to admit that Netflix made a good choice for their first exclusive anime license. The platform promotes binge-watching, and Knights of Sidonia ends on so many cliffhangers it’s definitely suited to the format.

Number of Episodes: 24

Pluses: gritty space combat with a fair dose of realism, swift moving plot, several highly competent female characters

Minuses: inconclusive ending, later episodes make Nagate too much of the ace pilot everyone relies on, English translation’s handling of Izana is very clumsy

Knights of Sidonia is currently streaming at Netflix (subscription required) and is available both subtitled and dubbed. Sentai Filmworks has licensed this for Blu-ray/DVD in the US.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

Movie Review: What We Do in the Shadows

written by David Steffen

What We Do in the Shadows is a mockumentary horror comedy film which had a theatrical release in 2014.  It was directed by Jemaine Clement (who you might know as half of New Zealand’s fourth most popular folk comedy duo Flight of the Conchords) and Taika Watit, who also both acted in the film.  The film is structured as a documentary following four vampires who are flatmates in New Zealand, chronicling their everyday lives including flatmate disputes, their feeding habits, their human familiar, their night life, and avoiding vampire hunters.

Vlago, Vladislav, and Deacon are several centuries old and have maintained their human appearances, though the necessity to avoid sunlight has left them very behind the times.  The fourth vampire Petyr, who is around 8000 years old, has become more monstrous in appearance and also monstrous in behavior compared to the other three.

 

I will pretty much see any movie featuring Jemaine Clement without knowing anything else about the movie, because he consistently brings great humor.  In this movie he plays Vlad the Poker (because he likes to poke things).  All of the casting (including Jemaine) were perfect in their roles, and I had to rewind the movie more than once because I was laughing too hard to catch all the lines–for instance, when the vampires attempt to go clubbing, but can’t get into clubs unless someone invites them in.  Probably my favorite bits of the movie were the ones that involved Rhys Darby (who I also knew from the Flight of the Conchords HBO show) playing the alpha of a local pack of werewolves.

I highly recommend the movie.  Great, funny stuff.  Since it does involve vampires who have to feed on humans to survive, there are some dark parts but I thought they did a good job spinning even the dark moments toward humor.

Anime Movie Review: Digimon Adventure tri: Reunion

written by Laurie Tom

digimon tri reunionI did not grow up with Digimon in that I had just graduated college when it started airing, but it was one of the last series I watched as a Saturday morning cartoon. People who haven’t seen it tend to dismiss it as a Pokemon knock-off, for featuring young children with monster buddies, but it did something that Pokemon did not. It allowed its protagonists to mature and grow up.

Digimon had always maintained in-universe that no matter how old you were, even if you became an adult, your partner digimon would always be there for you. Intelligent and able to speak, partner digimon are a pint-sized buddy that can be temporarily supercharged to grow into more powerful versions of themselves. No matter how badly their human screws up (and some of them do), the digimon are loyal for life.

Digimon Adventure tri is the 15th anniversary project originally intended for spring of 2015 and was devised as a TV show until it was revamped as a six part movie series.

It is clearly a nostalgia vehicle for those who had grown up with Digimon, specifically the original Digimon Adventure and its sequel Digimon Adventure 02. The first teaser was addressed to all the Digidestined in the world, a name for the chosen children with digimon partners (and by proxy, the audience), and the opening song is a new rendition “Butterfly,” the opening theme from the first series.

Six years after their first adventure in the digital world, the oldest of the Digimon Adventure kids are now in high school with the younger ones in middle school. For the audience it’s been a much longer fifteen years, but it still feels like coming home.

Reunion glosses over most of the worldbuilding about how/why digimon exist in favor of catching up with the original cast and setting an ominous tone for what is about to happen. While parts of the movie are watchable as a newcomer, the mechanics of digimon evolution and their different forms is not addressed at all, making it unclear why some digimon change forms (even multiple times in the same battle) and others do not.

The movie knows it’s only the first of six, so it doesn’t rush itself, resulting in a pace a closer to a TV show, but without the storytelling beats expected in a half hour episode. This makes it strange that the streaming sites do divide the movie up into four TV length chunks. Episode breaks feel arbitrary as some episodes have action scenes and others don’t, and there isn’t necessarily a climax.

Most of the screen time is focused around Taichi, now in his second year of high school and being badgered by his teacher to think about what he wants to do for a career after graduation, but instead of looking to the future, he’s still caught up in his past.

The eight Digidestined are no longer as close as they used to be. Though most of the group goes to the same high school, getting together isn’t easy. Mimi now lives in America. Jo, the eldest, is consumed by studying for entrance exams for college. Taichi’s soccer game conflicts with performance day for Yamato’s band, which conflicts with the anniversary dinner for Koushiro’s parents. Takeru will go to the concert since he’s Yamato’s brother, and Sora can’t make up her mind whether to go to the concert or the game or attempt both.

Peaceful days are limited though, and the digital world collides once again with the real one when a rift opens and a Kuwagamon (a large pink beetle monster) emerges and begins wreaking havoc on the city.

With the assistance of a secret government agency that seems to have been put together in the years since the previous invasions, Taichi and the other Digidestined are reunited with their digimon partners to again fight monsters and save the lives of others.

But for Taichi, it’s surprisingly harder to go fight the bad guys now that he’s older and wiser. Reunion is unfortunately ham-handed about it, but it’s clear that watching his pet monster chase another digimon through a dense urban development and crashing into buildings everywhere isn’t giving him the same rush. He’s aware now that there could be people in those buildings. Someone could get hurt.

If you saw the trailers and wondered what happened to the new characters introduced in 02 or if they were retconned out, don’t worry. The first few minutes make it clear they’re still part of continuity. My feeling is their introductions are being held back for a later movie to avoid having twelve returning lead characters to catch up with at the same time.

There is also a new girl, Meiko, who has a digimon partner, and by virtue of being new, she is probably the crux around which the new events are happening. I’m not sure how well her inclusion will work though, since as a character she has to match up against all the nostalgia value of the other eight. She still doesn’t quite fit in by the end of the first movie, though arguably it’s because there has barely been the screen time to get to know her and the revelation that she even has a partner is only towards the very end.

Overall, I enjoyed watching Reunion because with the exception of Taichi, it felt like visiting an old friend and finding out we still click, but I find this difficult to recommend as an entry point for new fans. There is too much to catch up on, which is too bad since I would have liked a more grown up Digimon series to introduce people to. For previous fans though, it plays like a Digimon Greatest Hits.

Digimon Adventure tri is currently streaming subtitled on Crunchyroll and Hulu.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

GAME REVIEW: Journal

written by David Steffen

journalJournal is a dialog based narrative story game by Locked Door Puzzle released in 2014.  The story follows a young girl who has discovered that the pages in her journal have gone blank and she sets out to try to find what happened to them.  The game plays out as she talks to different characters in life, and asks them about the journal, and different interpersonal conflicts arise–her mother, her father, her classmates, teacher, priest.  The game is a little bit of exploration as she walks around a larger area and finds new people to talk to with each level of the game, but mostly the game comes down to dialog choices.  When her best friend accuses her of not being a good friend, does she apologize or deny it?  When her teacher asks her if she cheated on a test does she own up to it or cover it up?  Making the “right” choice doesn’t always produce a happy outcome–as with many things in life.  As the game goes on she’s always kind of feeling her way around things that she doesn’t really want to remember.

2015-09-30_00001I thought the idea for this game was interesting.  I liked how it didn’t go the straightforward After School Special route where if you do the right thing then everything will turn out happy for you.  I thought the art was nice enough, and the voice acting good.  I picked up on the sense that the narrative was kind of feeling around the empty spaces where other events in her life would be revealed to be, which I thought was an interesting technique.

But I found the narrative frustrating.  It seemed like at every turn I was being asked to resolve a situation that had been made by some poor choice the girl had made off-camera before the game started.  In some cases the poor choice happened during the game narrative but in a way that I had no control over.  I get what the game was going for, she is having a difficult time of it and her choices are not always the right ones and that’s just the way life is.  But the way the game was structured I felt like I was playing the role of a friend who is always cleaning up after their friend’s poor decisions.  I think it would’ve been more effective if I could’ve been somehow drawn into the poor decisions themselves, somehow.  As it was, I felt like the character was going out of her way to mess things up and expecting me to clean it up for her, which I found frustrating more than entertaining.

2015-09-30_00002Visuals
I thought the hand-drawn visuals were nice enough, but found the “twitchy” nature of the background annoying (that is, it looks like the background was drawn several times in similar but not identical drawings and then cycles through those drawings so the outline of many objects are constantly twitching.

Audio
Nice voice acting.

Challenge
Nil.  The narrative progresses no matter what you choose and there’s not specific outcomes you’re aiming for.

Story
More story than anything else.

Session Time
Can save and quit at any time, which is handy.

Playability
Easy.  The only thing I occaisonally had difficulty with is that it’s not always obvious with the way the screens are laid out  how to move from one screen to another–I felt that could’ve been arranged a little more clearly.  But other than that.

Replayability
Different dialog choices affect the outcome, so you could replay a few times trying for different outcomes to conversations.

Originality
Well, it didn’t remind me overmuch of other games I’ve played, at least.

Playtime
I think it took me about an hour to play through once in no particular rush.

Overall
Interesting idea, dialog choice based narrative game where you try to sort out your life in a difficult time, but one that I found frustrating because I always felt like I was cleaning up after someone else’s mess.  $10 on Steam.

Anime Review: Ushio and Tora

written by Laurie Tom

ushio and toraWhen I first started watching anime I wasn’t too picky, because there wasn’t much available, so I watched a lot of genres that I wouldn’t anymore.

One of those early series was a direct to video supernatural action series called Ushio and Tora. It was fairly violent, but made tolerable by its endearing leads, the titular Ushio and Tora. Only ten episodes were animated, but the popular manga series eventually ran a whopping 33 volumes.

Fast-forward almost twenty years and in mid-2015 a new Ushio and Tora TV series was launched, spanning 39 episodes and covering the entire storyline. Despite being 20 years old, Ushio and Tora quite frankly doesn’t care and runs with with the same cheeky attitude (and wild hair!) that it did in the 90s.

At the start of the series, teenage Ushio discovers a hidden cellar in his dad’s monastery while being condemned to do his chores. However, once he opens the cellar he discovers a living demon pinned in the cellar by an enchanted spear. After an amusing conversation during which the demon promises to eat Ushio as soon as he frees him, Ushio shuts up the cellar door and plans to ask his dad about it later.

But things don’t stay that simple. Just by opening the door, Ushio released 500 years’ worth of demonic energy that has been building up and his home is suddenly attracting yokai of all kinds. The only way to drive them off (and save his classmates who came to visit) is to free the demon who promises he can take them out.

The demon does try to renege on his promise, but there’s a slight problem in that since Ushio pulled out the enchanted Beast Spear, he’s now the wielder of it, and the Beast Spear gives him the power to not only fend off the demon, but beat him back in line.

And this is the start of the frenemy partnership of Ushio and Tora (“Tora” being the name Ushio gives to the demon).

They make a fantastic duo, with Ushio being the constant optimist and Tora the pessimist. Ushio wears his heart on his sleeve and says he would gladly cry tears if it means someone else won’t have to. Tora can’t admit he cares about anyone but himself (though his actions say otherwise). One of the ongoing jokes is Tora promising to eat Ushio one day, and as time goes on, finding excuses not to do it (yet).

The violence is censored somewhat for the TV run, using shadows and discretionary shots that the original did not bother with, but it doesn’t detract since blood and gore isn’t as much of the point as the action and the buddy dynamics between the two leads. If the snark between them wasn’t so good this series wouldn’t have made it as far as it does, but even if the characters aren’t too deep, they’re entertaining to watch.

And that’s a good thing considering that the series starts off in a monster of the week fashion, which is unavoidable when following the manga. A fair bit of it is streamlined to fit the 39 episode run, but there are still a lot early one-off episodes that only later play a larger role as the series progresses. Because of this, Ushio and Tora is not particularly binge-able at the start, you can tell at the time the manga was created the artist was still trying to get his storytelling legs under him, but once the greater plot comes out it makes for fine viewing.

The source of all the woes in Ushio and Tora comes from Hakumen no Mono, a nine-tailed fox so powerful and malevolent that even other demons fear it. Hakumen has no redeeming qualities and is impossible to sympathize with, but it’s so damn freaky that even when it’s ranting about death and destruction it works. The audience isn’t meant to understand how such a creature is possible, it just is.

Veteran voice actress Megumi Hayashibara is unrecognizable as the voice of Hakumen no Mono, and initially her casting seems odd. Usually such a demon would be voiced with a deep bass, but Hayashibara gives us a scratchy and hissing Hakumen no Mono in a register where it’s not possible to guess a gender. And because it’s not the voice we expect, it feels wrong, just like it looks wrong.

A nine-tailed fox should be beautiful, but Hakumen is twisted, with eyes that are too big and a body that is too thin.

Between Hayashibara’s excellent performance and sparing visual use of Hakumen itself, the show does an excellent job of building up just how terrifying the fully unleashed Hakumen no Mono ought to be. I haven’t seen such a good build up of an earth-shattering, apocalypse level villain in a long time. Hakumen feels unstoppable, even though it’s imprisoned for the majority of the series.

Ushio and Tora isn’t going to win awards for its plot, but as a shounen action series it’s good fun, and since it’s based on a completed manga, it has no filler. Everything gets used eventually by the end. If you like shounen material, and don’t want to sit through 100+ episodes to get to the end (if the end is even there), Ushio and Tora is worth checking out.

Number of Episodes: 39

Pluses: entire storyline is animated and filler free, Ushio and Tora are entertaining and compelling leads, Hakumen no Mono is an incredibly good villain

Minuses: slow pacing at the start of the series, characters and plot aren’t particularly deep, filler removal creates the impression that everyone Ushio meets has to be involved in some way

Ushio and Tora is currently streaming at Crunchyroll and is available subtitled. Sentai Filmworks has licensed this for eventual retail distribution in the US.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

Guidelines for Short Fiction Guidelines

written by David Steffen

I read thousands of fiction guidelines of all genres every year as part of my work at The Submission Grinder, in order to distill those guidelines down into their basic components for market listings.  After reading so many guidelines I wish that there were guidelines that editors had to follow when they’re writing their guidelines pages.  Writers can be criticized for using tired cliches, but editors would do well to turn that critical eye on their own guidelines.  Note that none of these are meant to single out any particular publisher or market, and don’t affect the availability of listings. But are, rather, general impressions I have after reading so so many guidelines.

 

GUIDELINE NECESSITIES

I wouldn’t have thought the listing out necessities would be a thing that needs doing, but I see important information omitted quite often.

  1. Pay Rate

Most short fiction sales have a non-negotiable pay rate, and most short fiction markets post the rate right in their guidelines so authors can decide before they submit what level of pay they consider reasonable compensation.  It can save both parties hassle in the long run because the authors should have already known the pay rate before the acceptance letters are sent out and that shouldn’t be a point of contention.  If you don’t provide information about pay rate you give the impression that you don’t pay.  If you really don’t pay, be upfront about it and just state clearly that you don’t pay.  If you do pay you should state that clearly also.

  1. Genre/Style/Subject of story

In the absence of genre information, you might simply mean that you want contemporary fiction aimed at a mainstream audience.  You might, or you might not.  An author might assume differently than you.  Why not just say explicitly what kinds of things you’re interested in?  Maybe you want only “literary” style, or maybe you want nothing of that style.  If you don’t say something you can’t blame writers for submitting it.  If there’s some subject material you want absolutely nothing to do with, whether it’s a heavily used trope like zombies or a real life thing like child abuse, just say so.

  1. Word Count Range

Some guidelines say that submissions of any length are acceptable, others say that any short fiction is acceptable.  But where does it become unreasonable for an author to submit?  What is “short” fiction and what is “long” fiction?  If you give at least a ballpark of the boundary you’re thinking of, then authors who read the guidelines can avoid sending something you know you won’t be able to use.

  1. Reprint/Multiple/Simultaneous Submissions

Whether or not you take reprints (stories that have been published already), multiple submissions (more than one story submitted to you from same author at a time), or simultaneous submissions (same story submitted to you and another publisher at a time), just say so.  The default guess for most savvy authors will be no on all three, but it’s not like guidelines words are rationed.

  1. Timeframe for querying

Even if you intend to stay on top of submissions and reply to them in a timely manner, there may be circumstances where you get behind or an email gets eaten by the internet.  So it’s important to state a time period after which an author can feel free to query about the status of a submission–long enough so that you are not constantly pestered about statuses but short enough that the author isn’t left hanging for a very long period of time (30, 60, or 90 days are common values).

  1. Any peculiar specifics

Be sure to list any specific requirements peculiar to your process.  Requirement for anonymity and any extra hurdles that requires, file formats, etc.

  1. Easy to find guidelines

Some sites hide the submission guidelines like they’re some kind of dirty secret.  Preferably a writer should be able to find a link to the guidelines page linked right from the home page of the site, marked with a name like “Submit” or “Guidelines” or “Contribute”.

 

THINGS TO AVOID

There are certain trends that I’ve noticed that may raise my eyebrow about whether a publication is writer-friendly.  Think twice about putting these in your guidelines and be aware you are driving some writers away with them.

  1. Contests that use first rights unpaid

If you have a contest, and you want people to vote on entries to decide which stories win, put it in a private section of the site.  Otherwise you are using up the writer’s first publication rights for no benefit to them.  If you insist on doing this, at least explain in your guidelines that the writer is giving up their most valuable product without certainty of compensation. Along similar lines, if you claim to be a paying contest, pay for every work that is published.  The exceptions often take the form of saying that the winner will be paid and published, and that runners-up will be published with no mention of payment on the latter.  If you insist on doing this, make it clear in your guidelines that writers are gambling their first publication rights with a chance of nothing in return.

  1. “Pay” in anything that is not currency

You can’t pay for groceries with exposure.  You can’t pay your mortgage with contributor copies.  So don’t claim you are “paying” in these things.  If you’re not paying, say so.

  1. Saying that you can’t afford to pay writers, but also requiring first publication rights.

If you can’t afford to pay writers, it’s worth considering why those writers should give away the most valuable aspect of their story–first publication rights.  Do you actually have a platform that will provide them more exposure than posting on their blog or self-pubbing on Amazon would offer?

  1. “Send only work of great quality”

Writers can’t judge the quality of their own work accurately, so don’t ask them to.  Often as a writer develops in skill their opinion of the quality of their own work will actually lower as they come to understand how far they have to go yet–probably in part due to Dunning-Kruger effect.  Presumably this statement is put in guidelines in an attempt to decrease the volume and increase the quality of slush.  But it doesn’t work and might, in fact, have the opposite effect.  You’re an editor, do your job and handle the slushpile (either by yourself or with slushreaders)–if you don’t want to do that then perhaps you are in the wrong occupation.

  1. Condescending language

Even if you don’t like romance, or you don’t like literary, or you don’t like science fiction, or you don’t like whatever else, there’s no need to talk down about it in your guidelines. Keep in mind that there are many writers who write in many different genres, and some might write well in both genres you prefer and those you don’t.  Talking down about “genre fiction” is especially telling because “literary” is also a “genre”–everything fits into one or more genres, and speculative fiction can be literary in style.

  1. Nitpicky formatting requirements

Guidelines often refer to “standard manuscript format”, but since there is no centralized source of standards, there are more than one “standard” you’ll see.  Some will specify that you use a different font, different spacing, tell you to set Word to indent your paragraphs instead of pressing Tab.  For a short story writer to make sales they have to continually send and resend their stories to different magazines.  This takes time, but what would take way more time is rejiggering the manuscript every time it goes back out because different markets have different preferences.  If you want something different, as long as you can read the story, any nitpicky formatting can wait until the acceptance is sent out, at which point there’s a clear motivation for making the effort.  An obvious exception to this is when there is a clear and immediate need for an alteration, most notably the stripping of author name from a manuscript when dealing with anonymous slushpiles.

  1. “We can’t pay yet, but we hope to  pay someday”

This isn’t generally how the business works.  If you treat your writers well, and you pay well for their fiction, and you show that you have good taste in your choices, and you can get the word out about your stories, then you will attract more writers and more experienced writers who have had the time to develop the skill you want to use.  This will increase the overall quality of your slushpile and if you choose from that slushpile carefully you will end up with a much better result.  If you don’t pay writers then you will only get submissions from writers who are willing to submit stories to you for no pay, which is a much smaller group that is going to exclude most of the best active writers.  With lower quality work in the publication, you will have a harder time finding a paying reader base–it’s hard enough finding funds if the quality of the work is high, it’s nigh impossible if the quality is low.  So “we can’t pay yet but we hope to someday” tends to hint that you don’t really have a good idea how to run this business, which combined with the lack of pay is not a great sign to someone thinking of submitting.

 

 

BONUS POINTS

The things following are things which are not expectations in the guidelines, but if you feel comfortable putting something like them in the guidelines they make your guidelines page especially useful and attractive to writers.

  1. Sample contract

There can be a big gap between the general terms listed in guidelines and the specific terms listed in a contract simply because the former is conversational language and the latter is formally structured legalese.  If you have an author-friendly contract template in hand, there should be no reason why you can’t share that publicly to help authors make an informed decision.

  1. Diversity Statement

If you want to increase the diversity of the authors and stories in your slushpile, it can help to ask for this in your guidelines–especially reaching out to demographics that have historically been excluded for either the author identity or the content of a story–gender, race, sexuality, culture, religion, neural profile, etc.

  1. “Don’t self-reject. If in doubt, submit.”

Statements like this are particularly welcoming to writers, because there can be a tendency for writers to self-reject out of doubt because they think they don’t write the kind of stories you buy.  Writers are inaccurate judges of their own work–encourage them to let you do your job.

  1. A bulleted list of important points

A writer new to your publication should read the whole guidelines page before submitting, but a quick bulleted list makes it both more likely that newbies will catch the important points and that veterans will refresh their memory before submitting again.

  1. A brief list of exemplary famous authors

If you say you want stories that bring to mind Phillip K. Dick, Terry Pratchett, Octavia Butler, Isaac Asimov, or Douglas Adams, these all give useful information to a writer about what kind of aspects of fiction you value most to help them decide what to send to you first.  If you truly want everything in every style, leave this list out.  And keep the list short–if you have too many authors on it, then trying to distill a meaning from that list becomes impossible.

 

 

Anime Review: Joker Game

written by Laurie Tom

joker game

Joker Game isn’t the series I thought it would be, but it’s not the series I feared it would be either, and that’s both good and bad.

The story starts in 1937, in the midst of Japan’s invasion of China leading up to WW2. Lieutenant Colonel Yuuki has started up a specially trained spy organization known as D-Agency. The men who have graduated its rigorous training are regarded as both mavericks and monsters for adhering to tactics that the prevailing military thinking at the time regards as cowardly or even sacrilegious.

The opening two-parter is a delicious start, with conventionally trained Lieutenant Sakuma arriving as a military liaison between D-Agency and the Imperial Army. Sakuma quickly gets caught up in a cat and mouse game between D-Agency and his own superior that ends the first episode on a glorious cliffhanger with no obvious way out.

From there the series spins off into an anthology format, featuring a different spy each episode, with mixed results. For one, it really hurts to lose Sakuma’s outsider perspective. Since he’s not a spy, he doesn’t hide what he’s thinking and we get to follow along with his thought process. This doesn’t happen with the other characters, who are trained agents and reveal nothing more than their cover. The show plays its cards so close to its chest that sometimes it’s not possible to figure out what happened until the danger is over and it’s safe to debrief.

It makes sense, considering these men are working deep undercover rather than the more glamorous James Bond sort of agent, but it means that many times the viewer can’t put all the pieces of the story together until the last five minutes of the episode when the show reveals what we could not have known before.

On the one hand, it allows the spies to show their skills, and watching them is like seeing a magic trick without knowing how it’s done, but on the other, some things don’t make sense until context is given, and unlike magic tricks, we need the context to fully appreciate what happened.

I’d also argue that the two episodes following the opening two parter are among the weakest of the batch (though Hatano’s creativity in making an escape rivals Jason Bourne) since the spies involved are either dealing with temporary amnesia or primarily operating in the background, but there are some standouts in Episode 5 “Robinson” and Episode 6 “Asia Express.”

Each spy has his own strengths so the nature of their assignments results in a different feel for every episode. One episode might take place on an ocean liner in full sunlight. Another might happen mostly in an interrogation room after a spy’s identity has been compromised.

Now for the elephant in the room.

Joker Game takes place before or during WW2, depending on the episode, and from history, we know that Japan was among the aggressors. The show even opens with the Japanese populace celebrating the invasion of Qingdao.

The series combats approval of this history in two ways (in addition to a disclaimer that reminds audiences that this is a work of fiction). The first is the reminder of Japan being unprepared to deal with the western world, resulting in unequal treaties. Historically this was true and very much a legitimate concern, so it is understandable that Japan would want a spy agency to keep up with their western peers.

The second way is what makes D-Agency such a maverick in its time period.

Nationalism was high in WW2 and the military still adhered to a bushido-inspired code. But the two rules of D-Agency are: Don’t kill. Don’t die.

There is a good reason for this. Bodies bring up questions, and for a spy relying on discretion, they don’t want bodies to be found, whether it’s their own or an enemy’s. This code makes the spies of D-Agency more sympathetic because they aren’t killers, but runs counter to common military thinking of the time, which favors a more direct approach. Lt. Col. Yuuki finds the Imperial Army’s thinking to be backwards and even foolish as he and his team work to outwit all comers.

It’s also clear that D-Agency does not entirely trust Germany, since one spy expresses surprise at the side of the war his country has chosen, and another spy operates in Germany even after the war begins and the two countries are supposed to be allies.

If you can buy into a spy agency that is loyal to its country, if not what its country is fighting for, Joker Game is worth a shot. The obligatory Shanghai episode (Japan occupied it throughout the war) was a potential for the show to go very, very wrong, but did not end up offending me, and put a spotlight on military corruption in the city.

Though there is some spy versus spy involving the Allied powers, the show is careful to keep the conflict a human one (or to make the Allied spy such a bastard even his allies wouldn’t like him) so there are no hard feelings at the end of the episode. None of the spies ever deliver a smoking gun that could be tied to a historical offensive, so they can remain the good guys, rooting out corruption, traitors, and other spies.

One point that I would like to raise separately from the quality of the show is that D-Agency is composed entirely of men, and women only play bit parts in the series. While I’m sure the Imperial Army wasn’t about to start drafting women, D-Agency revels in the creative and unorthodox, so it seems odd that Yuuki would not have recruited at least one, especially since historically Japan did have a female spy in WW2, Yoshiko Kawashima.

Yuuki explains his reason for not doing this in the final episode, but quite frankly his reasoning is a load of horse pucky and applies to both genders, as is quite apparent in the context of the conversation.

It may have been difficult to arrange for a single Japanese woman living abroad given the time period, but D-Agency clearly works within Japan as well as without, and there’s no shortage of opportunities for a woman to do spywork domestically. Yuuki is already aware that some women are perfectly capable of seeing through the blind spots even the military men miss. It’s a shame he doesn’t capitalize on that.

Number of Episodes: 12

Pluses: characters are extremely smart and believable about their spywork, seldom explored perspective from a contentious time period, writers clearly did their homework

Minuses: spies get minimal screentime in some episodes (they might not even be the POV character), frequently not possible to understand the full situation until the end of the episode, not possible to get attached to the cast since they’re constantly rotating

Joker Game is currently streaming at Crunchyroll and is available subtitled.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

DP Fiction #19: “Do Not Question the University” by PC Keeler

“History,” spoke The University.

Albert had no interest in History. Nor had he interest in Mathematics, Science, Language, Art, or any of the other schools of The University. But one did not question The University, let alone defy it. Tales skittered among the Uneducated about Accepted Candidates thrown back from the gates for a single unwisely chosen word. The accepted response was safe.

“I so pledge,” said Albert.

A hole dilated open in the hallowed wall in front of him, symbolic of the forthcoming opening of Albert’s own eyes as he gained his Education. Antiseptic blue light spilled out. He waited for the command, to demonstrate his patience and submission to the sacred Policies and Procedures. One page of the Packet had detailed precisely how he was to behave, and he had no intention of failing now. Not when greatness lay before him.

“Insert your left hand,” The University instructed Albert. He obeyed. His skin looked a sickly sallow under the light, until the opening sealed around his wrist and held him in place. He felt the mildest of twinges as an airjet drove the new chip into his wrist, neatly tucked beneath his radial artery. His own pulse would provide the micropower the chip would need for the rest of his life.

“Welcome, Freshman,” The University boomed, loudly enough for the rest of the Application Center to hear. No one cheered. No one ever cheered. The Uneducated saw the Educated as mad, and yet dreamed of one day joining their ranks. Every Accepted Candidate meant there was one less spot available for the rest of them that year. He was no more Educated than he had been when he stepped into the Application Center ten minutes prior and submitted his forms, and yet now he was counted among their ranks for the potential that The University had seen within him.

The porters arrived. He had brought nothing with him, as per the Policies and Procedures, save for the clothing they now demanded he remove. He had made arrangements for the rest of his personal effects, as every Potential Candidate did. But this year, those arrangements would be put into action. He had a single cousin, who would have it all, the same as if Albert had died.

He donned his University Uniform. For the next six years, he would wear the comfortable, loose canvas of the jeans and the casual, distinctive blue shirt of the University Student, and carry the slim-line screen on which so much of his life would now depend. The porters gave him that screen when he was dressed. It was already turned on, and his class schedule was displayed in glowing green letters. His first class was in thirty minutes: Introduction to Speculative Analysis.

He left the Application Center without another word, either to the porters or to The University. The University had other Candidates to evaluate, and the porters would eagerly scrutinize his every word for signs of rebellion. He would give them nothing. He would be Educated in History and then the porters would have no power over him ever again.

Only The University would. Forever.

Six years. Six years of glorious freedom, and yet, only by abstaining from the temptations of life at The University could Albert become Educated. Many did not. To be a University Student was, after all, to be free to travel anywhere in the world, to be free to order any goods or services one desired, to be free to take part in all the wonderful bounty the world had to offer.

But The University was keeping track. Education was priceless. No man could possibly possess the wealth needed to pay even a single year of the most abstemious life at The University. It was solely by the generosity of The University and its ancient, mythical Donors that any man could become Educated, by surrendering himself to the wise and remorseless command of The University. To be given the opportunity for Education and to waste that chance was the most foolish possible outcome a man could achieve. And yet so many did, trading six short years of glory for a lifetime of drudgery.

History was a rare subject. Only four others shared the topic with Albert in his class. The first thing Albert learned was the wisdom of The University, for he was fascinated from the moment of his first lesson. All sorts of strange and wonderful secrets were his, matters that the Uneducated could never hear.

How once, The University had a great rival, whose name had been deliberately expunged in the riotous celebration when The University achieved its final victory.

How before that, The University had been but one of many, invited to ally itself with great powers among its brethren but choosing to stand proudly alone, growing in wealth and import with each passing year.

How once, not a lifetime but a single summer’s labor was deemed sufficient to repay the cost of a year’s Education, and how the years of labor per year of study grew each year.

How beyond The University’s reach there had been other places that refused the benevolent counsel of The University – and Albert could understand the implications of the phrase ‘had been.’

How the University had turned its wisdom upon itself, and seen the fallibility of man, and acted to remove that element from its own administration. It had been a very long time since mere human decisions had guided it, since bureaucracy and greed had played a role in the administration of the world. It was only among the University Students that folly remained despite The University’s rigorous selection; of the few tens of thousands chosen around the world each year, one in ten would squander the priceless gift of Education, and another one in twenty would fail its rigors despite their best efforts.

It was not merely human history that Albert learned. Alone among his classmates, The University chose for him courses of study that took him deep into the Restricted Archives, regions where The University’s own processes of deliberation had been recorded. Organization charts, acceptance criteria, secrets that many of the Uneducated would beamingly murder to learn, to gain their own entry into the ranks of their betters. He began from the most ancient of files and moved forward.

Many of Albert’s classmates had dissipated their precious days, losing the favor of The University but still through its grace permitted their full term of freedom. Albert did not travel. Albert did not spend his nights in drunken stupors. Albert was engaged, in the fullest sense of the word. The University guided Albert, drove Albert, but where it drove him was deeper and deeper into itself, into understanding how The University had once functioned, how it grew over time, how its Policies and Procedures had developed into the heart of the world.

When six years had passed, Albert was given the highest of trials The University had to offer. He would not be given the multiple-choice tests that his wastrel classmates would take (and fail), to perfunctorily prove their lack of worth. He would not sit for days filling out Blue Book after Blue Book, demonstrating his grasp of rote facts and simple analysis. He would not even sit before a panel of Professors to be judged for fitness to join their exalted ranks.

No, Albert stood before The University itself, the hallowed Seal etched into the floor of an ancient chamber. Speakers and sensors embedded into every wall left The University aware of his presence at its symbolic heart as he faced his Final Examination.

The University asked him, “What went wrong?”


© 2016 by PC Keeler

 

Author’s Note:  One evening, my writing group, the Fairfield Scribes (collective authors of Z Tales: Stories from the Zombieverse), assembled in my living room, with the express purpose of shamelessly engaging in literary generation. That afternoon, I had been working on unpacking boxes of books, and came across “Legends of the Ferengi” – in which it was noted that those avaricious aliens would decades’ worth of debt to pay for a prestigious education, a concept that was just a joke when the book was written. Nowadays, that doesn’t seem quite so funny… and it doesn’t show signs of stopping.

 

MePictureBorn in the far-off days of the Second Millennium, PC Keeler spends his days writing detailed instructions for very dim but precise silicon brains to follow and finds it a relaxing change of pace to write more conversationally for charming, handsome, intellectual readers like you.  He enjoys past, present, and future, preferably all at once. Steampunk and Ren Faires work well for this.

 

 

 

 

 


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Announcing the Diabolical Plots Year Three Fiction Lineup!

written by David Steffen

Diabolical Plots was open for its yearly submission window for the month of July. During that time, 803 writers submitted 1070 stories.  This year, the maximum word count was raised from 2000 words to 3500 words, and this year instead of one story per month Diabolical Plots will publish two stories, for a total of 24 stories that will begin running in April 2017 which is when the Year Two stories have all been published.

Thank you to all the writers who submitted.  You made the final choices incredibly difficult, which is a very good problem for an editor to have.  If we had the resources to publish more right now, there would have been plenty of excellent stories to choose from.

OK, without further ado, here is the list of stories and authors and their publishing order!

April 2017

“O Stone, Be Not So” by José Pablo Iriarte

“The Long Pilgrimage of Sister Judith” by Paul Starkey

May 2017

“The Things You Should Have Been” by Andrea G. Stewart

“The Aunties Return the Ocean” by Chris Kuriata

June 2017

“The Existentialist Men” by Gwendolyn Clare

“Regarding the Robot Raccons Attached to the Hull of My Ship” by Rachael K Jones and Khaalidah Muhammad-Ali

July 2017

“Monster of the Soup Cans” by Elizabeth Barron

“The Shadow Over His Mouth” by Aidan Doyle

August 2017

“For Now, Sideways” by A. Merc Rustad

“Typical Heroes” by Theo Kogod

September 2017

“Strung” by Xinyi Wang

“The Entropy of a Small Town” by Thomas K. Carpenter

October 2017

“Lightning Dance” by Tamlyn Dreaver

“Three Days of Unnamed Silence” by Daniel Ausema

November 2017

“When One Door Shuts” by Aimee Ogden

“Shoots and Ladders” by Charles Payseur

December 2017

“Hakim Vs. the Sweater Curse” by Rachael K. Jones

“The Leviathans Have Fled the Sea” by Jon Lasser

January 2018

“Six Hundred Universes of Jenny Zars” by Wendy Nikel

“Brooklyn Fantasia” by Marcy Arlin

February 2018

“9 Things Mainstream Media Got Wrong About the Ansaj Incident” by Willem Myra

“Artful Intelligence” by G.H. Finn

March 2018

“What Monsters Prowl Above the Waves” by Jo Miles

“Soft Clay” by Seth Chambers

 

ETA: Note that this list originally include “Smells Like Teen Demon” by Sunil Patel, which was removed from the lineup.  This list has been edited because it is the easiest way to reference which stories are in which year, and I didn’t want this to be a source of confusion.