This is the first, and quite possibly the only, year that I’ve been eligible to vote for the Nebula Awards. The Nebula Awards, for those who don’t know, are one of the biggest awards of science fiction fandom. This is the one voted by members of Science Fiction/Fantasy Writers of America, as opposed to the fan-voted Hugo awards.
So to make the most of it, I’m reading as many of the nominees as I can find to do before the voting period ends. Here are my rankings of the Short Story category in order of preference from favorite to least (for the voting I pick only one, but to flesh it out as a full review I found this helpful). The Short Story category covers all speculative fiction stories of 7500 words or less.
Nebula Award for Best Short Story
1. Five Ways to Fall in Love on Planet Porcelain by Cat Rambo (Near + Far)
Tikka works as a Minor Propagandist on the fantastical Planet Porcelain, where all the residents are all made of varying qualities of clay or porcelain. She is one of the very few of the lower-class variety to find employment in an upper-class region. Having spent so much time writing top five lists intended to attract tourists to the planet, much of the story is told in a numbered format as she is used to structuring her thinking that way. She meets an off-world stranger, and forges a connection with him.
This was first published in Cat’s excellent Ace-Double style dual anthology. A solid and emotional connection with the character, with an interesting setting and occupation. I really felt for her.
2. Immersion by Aliette de Bodard (Clarkesworld 6/12)
A very interesting setting, set in Longevity, a world which has been recently conquered by a galaxy-spanning Empire. The war is over, but the conflict continues as the Empire sends tourists through to absorb the culture. The biggest element of this absorption is a technology called an immerser, which all of the Imperials use heavily to interact with their world, acting at its most basic level as a translator but altering perceptions of reality in everything you do. To deal with Imperials at all, the locals have to user the immersers as well. It’s a battle to maintain your own beliefs and perceptions in the face of reality overlays.
This was published in Clarkesworld, where I first heard it on their podcast. It’s a solid story, well written. The worldbuilding in this one was especially good.
3. Robot by Helena Bell (Clarkesworld 9/12)
Written as instructions to a domestic robot that also acts as a medical aid. The instructions make it very clear that this robot is meant to follow these instructions very closely. The robot is meant to eat the narrator’s dead flesh as a disease eats away at her. This one sided conversation has all kinds of nuances that you are left to unravel on your.
This was published in Clarkesworld, where I heard it on the podcast. There are some seriously creepy undertones that seem to suggest there’s something deeper. I’m not sure I was ever able to fully unravel them. It served as an interesting puzzle, especially trying to understand the narrator’s motivations and personality only from her instructions. It’s very well written, and has some definite emotional connection. The reason I didn’t rank this one higher is that I didn’t feel there was any character or plot arc–nothing changed. I enjoyed it for sure, but to pick it as my favorite story of the year it has to have something more.
This story also seriously needed a better title. Single-word titles, when the word is from the dictionary, are often not very evocative. But this is the least evocative title I think I’ve ever seen. I saw this on a suggested reading list for the Nebula, and I knew I must have heard it on the Clarkesworld podcast but the title brought back absolutely no memory of the story. I’m sure I’ve read dozens of stories in the last year that involved some kind of robot, and I didn’t have any recollection which one it would be.
4. The Bookmaking Habits of Select Species by Ken Liu (Lightspeed 8/12) This is written as a sort of documentary of the writing and reading habits of interstellar species, a half dozen or so very interesting ideas.
Ken Liu is a great writer. He wrote last year’s “The Paper Menagerie”, which was a well-deserved winner last year. This story showcases some of Ken’s great creative thinking, but to me it read more like a set of outlines that he never got around to making into stories. Among other things, there are no characters, just alien races. They’re great ideas! But I’d rather read the stories, instead of the outlines. To pick something as the best story of the year, I want a plot and characters.
This was published in Lightspeed, where I heard it on their podcast.
5. Fragmentation, Or Ten Thousand Goodbyes by Tom Crosshill (Clarkesworld 4/12)
The story of a dying mother and her son Rico who wants to preserve her in some fashion after. They can create digital uploads of people who can live in virtual environments. He is trying to plan ahead for her death, planning an environment for her simulacrum to live in.
This story has a good emotional core, and there is a character arc. I felt like I should have enjoyed it more. It seemed to me like the core idea (which was referred to in the title) was meant to be deep and philosophical since the entire story focused around it, but it never really spoke to me.
This was published in Clarkesworld, where I heard it on the podcast.
6. Nanny’s Day by Leah Cypess (Asimov’s 3/12)
A story that takes place in a future where anti-bioist parenting movements are the norm. Working mothers turn for more and more of their childcare to their nannies. After a landmark case kicks up the anti-bio-ist movement that says that biological parents should have no priority over custody of their own children, encouraging the child to choose who he/she wants to be their guardian. Parents have become paranoid, to the point that no one keeps nannies for more than a few months at a time. The protagonist is a mother who suspects that her nanny is going to try to make a grab for custody.
This was published in Asimov’s, and Leah posted it to her website to read for free. I didn’t really care for this one. It had a character arc, and a plot arc, which are definite pluses. But it just felt very preachy to me very early on, a lecture more than anything, and that feeling never went away. It was well written, but it was just so heavy on message I just couldn’t get into it. Not the story for me.
7. Give Her Honey When You Hear Her Scream by Maria Devahna Headley (Lightspeed 7/12)
This story is about… Well, if you know what it’s about, feel free to let me know. A… love story between a magician and a witch… I think.
This one was published in Lightspeed, where I heard it on their podcast. Quite frankly, I found this one completely incomprehensible. Each section switched the style, often speaking in hypotheticals, changing the details of the situation. I was never really sure what was happening or why in the hell I’m supposed to give a damn about anything that’s happening. Everything changed so frequently that it wasn’t exactly a plot or character arc, but more like Brownian motion twitching in any and every direction. Clearly I didn’t get this one at all, and it’s not for me.
Before I cut my reviewing teeth at Tangent Online, before Daily Science Fiction came to life, I shared my thoughts on the Writers of the Future anthology here at Diabolical Plots. WotF is a contest like none other in literature. The dream child of the late – and controversial – science fiction author, L Ron Hubbard, WotF is a contest reserved for the amateur writers of speculative fiction. Its judges are staffed with the icons in the industry. Winners of the contest have often gone on to greater success. Skeptical? A simple roll call of Hugo and Nebula nominees of the past decade plus is all the evidence you need. Many authors who now make writing their career , including the last two coordinating judges , made their first steps as a successful author winning this contest.
Because the Writers of the Future contest is so unique, I have made my reviews unique. It is the only publication where I assign letter grades for each story. I do so for three reasons†¦
a) Because I’m a loyal reader.
I bought the first anthology when it debuted so very long ago (I was young then, I swear). With the exception of a few in the 90’s, I have read them all. Some of the stories have moved me, some have left me scratching my head and left me wondering on how they managed to be place in the contest, but most fall in that murky middle. A simple , I liked it , doesn’t accurately reflect on how I felt about the stories, but the letter grades do.
b) Because I’m a contestant.
I first started to submit to the contest when I began to review the anthology four years ago. I’ve done well enough to average about three Honorable Mentions a year. With the exception of one Silver Honorable Mention, I have yet to do better. But if the estimates that only the top 5 to 10% reach the level of HM, then I can reason that I’m not doing all that bad. The stories that have won have bested my best. The letter grades reflect my analysis of my competition.
c) Because they’ve passed the test.
Most writers who have submitted a story to a professional publication have a lofty dream of making it in the industry. Dreams that their names will someday stand with the prestigious authors of today motivate many, but there is a wall they must first scale, a note of accomplishment that a writer can hold up to show that they have indeed made it. The WotF contest has proven to be that mark of excellence that they have.
Scores of writers have known the contest opens a door that they have been turned away from. For most who have won, entry into the anthology is their first professional sale. It is a rare contest. If you’ve made it in the industry, you can’t enter it. It’s for the writers who have been searching for their big break. For a lot of past winners, make the table of contents is the beginning of greater things to come , and you need not look any further than list of Hugo and Nebula nominees for the past decade to see just how true that is. It’s the reason why , according to Kristine Kathryn Rusch in her excellent essay in this year’s anthology , the contest receives thousands of entries each quarter. Amateur writers have learned winning the contest can mean everything for their career.
So, this contest is our Bar exam, the dissertation to earn our doctorate, our finishing line of our marathon, the peak of our mountain. It is the final exam to our professional writers degree. With that in mind every exam I ever took came with a grade. So how did our graduates from amateur-hood do? Take a look for yourself†¦.
“Of Woven Wood” by Marie Crokefirst place, first quarter
Lan’s creator, Haigh, is dead. Murdered by unknown assailants. Worse, Lan’s wicker head now has a hole in it, and he has a headache to boot , an odd feeling for a creature constructed out of branches. Now his head cannot hold items, a dilemma that stresses him much. Haigh’s neighbor, Jaddi, comes to get Lan and takes him into her home. Haigh’s talents as the local apothecary will be missed. Lan’s role as Haigh’s assistant and storage curator leaves a hole in his purpose as gaping as the one in his head. The emptiness inside him forces Lan to reflect who he is, a question that is compounded when Haigh’s murderers return to find what they were looking for, the item that led to Haigh’s death.
“Of Woven Wood” opens as a mystery. Lan awakes confused. He doesn’t understand the pain he is in or how he received the hole in his head. Vague recollections of his master stuffing him with important items, while their home is being invaded, flash in his mind. He is more concerned about Haigh’s reaction to the missing items in his head cavity, and of the broken things on the floor, than he is about Haigh’s unresponsive state. Lan is a walking wicker basket. His insides are a concealed storage container. As Haigh’s assistant, he picks up the pieces of his life and assumes his former masters role as the apothecary of the town.
“Of Woven Wood” transforms as a story almost from the beginning. Lan’s character is convincingly shown as a magical servant. He is robotic in design with the indifference in attitude fitting the fantasy equivalent of a heartless machine. I found it surprising when the author accomplished this so successfully yet spent the rest of the story showing he was anything but. The emotionless creature at the start evolves into a Pinocchio like character. I found the writing sound – the smooth prose and intriguing opening had me very curious from the start. However, the plot lacked a firm footing for me to remain grounded. The story, and its protagonist, drifted as if they weren’t sure what they were or where they should go next. The first half of the piece was a lengthy set up of Lan searching to find himself. The last half hinged on a twist that came out of nowhere. The result was a tale that I found enjoyable to follow but with an ending that was flat and a conclusion that felt like a cheat.
Grade B-
“The Rings of Mars” by William Ledbetter first place, second quarter
Malcom is chasing his best friend, Jack. He has recommended that his long time bud be returned to Earth. Now Jack has taken the robot rover, Nellie, and like a hurt child, has run away and left Malcom alone on the red planet’s dry surface. Malcom has no reason to be concerned, until an unexpected solar flare warning puts him in danger. Loyal to his friend, but still feeling betrayed, Jack returns to rescue Malcolm. Malcolm uses the opportunity to explain why he made his decision, but Jack has his reasons for not being a team player for the company. He has found something, something too valuable to leave in the clutches of a heartless corporation to exploit.
“The Rings of Mars” is a good old-fashioned science fiction tale. The story starts off as a buddy tale. Malcolm has valid reasons on why he has recommended Jack’s recall. An accomplished geologist, Jack has spent all his time exploring the red sands yet has failed to find any mineral deposits for the company to use. But Jack has indeed found just what the company needs, water, and tons of it. Giant pillars frozen in the sand, but the pillars appear to have a pattern to them, as if they were a puzzle left long ago for a budding species on a neighboring blue planet to solve. Malcolm isn’t so sure but can see the benefit the find would be for the company. Jack is disappointed with Malcolm and abandons him again, leaving him for the company to find as he runs off. But while Malcolm waits, he discovers there is far more to this puzzle than even Jack has discovered. He is left with a choice; be a hero to the company or help Jack unravel the greatest discovery in human history.
“Rings of Mars” reminds me of the short 70’s sci-fi adventures I fell in love with as a youth. The slow pace of the first few pages ends up paying off halfway through. Mr Ledbetter’s experience as the editor for the National Space Society’sannual Jim Baen’s writing contest is put to good use in this tale. A fine mixture of solid science and astronomy knowledge supports a well-crafted premise. I was taken in with the dilemma the two men faced and was quite satisfied with the story’s eventual solution. Well done. The one thing that did disappoint me was the art attached to the story. I thought the tale deserved a depiction as imaginative as the storyline.
Grade A-
“The Paradise Aperture” by David Caranifirst place, fourth quarter, Gold Award winner
Jon has lost his wife. He is a photographer who stumbled upon one of the greatest discoveries in history, the ability to develop doorways that lead into pocket universes. Two years before, he lost his wife inside one of those universes and now he is obsessed to find her. His ability to capture doorways has made him wealthy. Each universe is a paradise. One can step into one and not feel pain, hunger, thirst†¦the ultimate alternate reality for those who want to disconnect from the real one , and the perfect environment for those who want a place to conduct less than ethical business practices.
“The Paradise Aperture” is a well thought out and original concept. People and corporations are willing to pay him millions for each doorway. Jon needs the money to help him finance his search for his lost wife but is having difficulty turning a blind eye to what they are being used for. His teenage daughter tags along with him on his trips to photograph new doorways, even when she hates doing so. His mother-in-law begs him to stop, to accept that his wife is gone for his daughter’s sake. The government has threatened to put his work to a stop, concerned with the ethics of creating new worlds. He is running out time to find his wife and is beginning to lose hope that he will. He has one last idea, an idea that might bring unimaginable catastrophe.
“The Paradise Aperture” is Mr Carani’s first published work, a fact that I am having a hard time believing. The characters are drawn well. Jon is conflicted, short in patience and annoyed with the people who crave his work. His teenage daughter, Irene, is successfully written as a spoiled teenager of a single, but wealthy, parent , bored, disrespectful, and judgmental. The tale is written on a foundation of a fresh and fascinating premise. Who wouldn’t love to step into a doorway leading to paradise? Particularly impressive was the author’s ability to craft subtle hints that have huge implications later in the tale. Although the storyline itself didn’t knock my socks off, the exceedingly impressive crafting of the story did. I foresee a brilliant writing career in Dave Carani’s future.
Grade A
“Fast Draw” by Roy Hardin published finalist
Jake is about to be shot by his G-1, basic grade human, quick-drawing girlfriend. He has less than two seconds before the bullet reaches him. Plenty of time for a G-30 to down a few drinks, make his moves on the lovely girl seated next to him at the bar, and step out of the way. Now if he only knew the grade of the alluring woman seated next to him†¦
“Fast Draw” is set in a future where new and improved models of androids are created each year, making ‘new’ brands obsolete after a few years. Jake had been very important when he was relevant, but that was long ago. He is an anomaly, living way past his expected twenty years of life. At seventy, Jake is an antique compared to the G-100’s of today. He is slow, mentally and physically, to the advanced models, but is blazing quick to his bio-original girlfriend, Gloria. His new interest, another android whose grade he doesn’t know, is a wild card. She encourages his advances but there is something that doesn’t feel quite right about her. The quickly evolving events , set to slow motion , unravel as a speeding bullet crawls toward him.
“Fast Draw” is a story with entertaining characters set in a basket full of coincidental circumstances. Jake, Bunny, and Gloria are moving at wildly different speeds in a ridiculous offset of time dilation, setting up the first of many premise stretching scenarios. In the span of less than two seconds, we observe two people flirting, receive a history lesson on Advanced Platform androids, get an in depth report of Jakes life up to that point, and watch a blow-by-blow quick draw in slow motion. The cherry to this over-the-top premise is Gloria’s happens to wear a six-shooter on her hip. Despite the avalanche of convenient subplots, I found this story enjoyable to read.
Grade B
“The Siren” by M. O. Muriel second place, third quarter
Janie is awake, one of the lucky few in the collective human conscience known as the Honeycomb. The rest of humanity is asleep while invaders from another dimension known as the Grunge have taken over their bodies. Janie is a manipulative, bi-polar teenager. She has a habit of rejecting the status quo and rejecting authority. Her antagonistic trait may serve her well as a member of the resistance in the sub-conscious world of the Honeycomb, or her arrogance may bring about her downfall.
The Siren is set in a ‘Matrix’-like world. Janie has memories of a news report involving an ancient artifact under the ice of Antarctica and little else after. The few who have escaped from the clutches of the Grunge have the ability – or illness – to perceive reality differently than the masses. After wandering alone among the labyrinth of sleeping consciousness, Jamie stumbles upon the COP Phoenix, a base of operations occupied with Tibetan monks and mentally ill. She learns the Grunge hunt the few who have the ability to resist them, like the Tibetan master, Lobsang. Death is also possible in this subconscious state as one of a multi-personality alterego’s learned when they fell into the abyss. Survival and gathering others like themselves have been the goal of COP Phoenix but neither will win humanity’s freedom back. Janie preferred a more proactive approach in the real world, and won’t hesitate to do the same in this one.
“The Siren” is an imaginative world, one that stretched my range of comprehension. The story is a difficult one to soak in, but somehow my saturated brain managed to absorb it all. There was much to be confused about – flashbacks, mind-bending manipulation, mirrored personality images , it took me awhile to put Ms Muriel’s premise into its proper perspective. The large story does have a clear direction and outcome, but like the surreal world of the Honeycomb, it is one that the reader could find themselves hopelessly lost in and give up. The tale does have a satisfactory solution to Janie’s problem but does open up the tale to an even larger story. The conflict Ms Muriel introduced us to was only an opening salvo.
Grade B
“Contact Authority” by William Mitchel first place, third quarter
Jared Spegel’s job is to protect the human race from annihilation. So when his cover is blown in the Kaluza station weeks before humanity is set to make first contact with the Caronoi – an alien race on the verge of space travel , he must take a risky step by revealing the nature of his visit to the station commander. Someone has been leaking information to the Caronoi on the station, a clear violation of Alliance protocol. Earth is the newest member of the galaxy-spanning Alliance. Species deemed worthy are invited into the Alliance. Those who aren’t, are eliminated as threats. Humanity barely averted annihilation sixty years before, and Jared isn’t the only who thinks that extermination may still be in mankind’s near future.
“Contact Authority” is a tale of species under the eye of a real Big Brother. The species of Man is on a very short leash. The Alliance is a mysterious organization that takes no chances with emerging intelligences. Rory Temple’s grandfather was the man who first initiated contact with the Alliance. Now Rory is on hand for first contact with the Caronoi. He has decoded their sing-song way of communicating. Suspicion first falls on him as the leak. Not much is known of the Alliances criteria on what makes a violation in their protocols but leaking information to an emerging race is clearly a no-no to them. Angering the Alliance is the last thing Earth wants to do. Man’s fate rests on Jared’s shoulders on finding the source of the leak. But as he digs, the weight of two races fate bears down on him. Can he find the perpetrator in time?
“Contact Authority” is story with a premise I would describe as flimsy. An overbearing, overseeing, collective race of advanced aliens is easy to imagine, but their criteria of what they determine is dangerous I found hard to believe. Nevertheless, with that premise in mind, the actions Jared and his comrades took was beyond irresponsible. I can’t imagine that anything less than a full court-martial would be waiting for him when he got back to Earth. I will say though, the ending line was fabulous.
Grade B ,
“The Command for Love” by Nick T. Chan second place, second quarter
Ligish is in love with his master’s daughter, Anna. A war golem like himself has no use for such a command but he can’t determine which symbol is love in his skull. The homunculus in his head is becoming senile, just like Anna’s father, Master Gray, is now. The emotion makes life more difficult for the titanium machine when General Maul arrives to take Anna’s hand in marriage, and all Master’s Gray’s belongings , including Ligish , as his endowment. Ligish is the true prize for the power hungry General, but Ligish can’t bear to think of Anna becoming the concubine for this man. He will do anything for Anna, even circle the world to God’s mouth if he needs to.
“The Command for Love” is a steampunk story set in an extraordinary fantasy world. Golems, the homunculi controlling them, and women, are all under the servitude of men. The world is in the shape of a man with the sun and moon resting in each hand. The arms are raised and lowered to mark the passage of each day. Ligish is the last type of golem that was built long ago. He is far more advanced than any war machine in General Maul’s arsenal. Once Maul’s marriage to Anna is complete, Maul plans on installing his own homunculus into Ligish, but Ligish has no intentions of committing violence. He must find a way to nullify the contract the senile Master Gray has signed but that may require nothing short of divine intervention to overturn it.
“The Command for Love” has an awful lot of content in a few pages. Homuncoli, ghost rifles, a golem shaped world, and so much more, are thrown at the reader. Despite the fact I had to play catch up determining what the hell a ‘homunculus’ was, I was immediately taken in with this story. General Maul cares only about furthering his own goals. He made it very plain to Ligish that he and Anna would be his property to use and abuse once his marriage to Anna is complete. The first half was set as a wonderful battle of wits between a unique protagonist and an excellent villain. But alas, that formula proved to be not in this plot’s mix. The story took a turn halfway through when the premise went from extraordinary to head-spinning. I will not divulge any more so not to spoil it for readers but let me just say it became different to follow.
This is a story I wished would have stuck to the narrow premise of the first half. Where the second half had some intriguing characters and mesmerizing settings, the expansion of the story just seemed too much for me. It read like ‘Lord of the Rings’ might have if it were cut down to 10,000 words, an overload of twists and subplots crammed in too tight of a space. Nevertheless, “The Command of Love” does have a satisfactory conclusion, but the ‘happy ending’ it provided came off as a Pyrrhic victory for the main characters. I will say there is a good story in there, but finding it is like trying to trace a solitary wire through the spaghetti mess you’ll find behind your stereo system.
Grade B
“My Name Is Angela” by Harry Lang third place, first quarter
Angela’s place in a pecking order is set. She is a grade school teacher who isn’t expected to teach. She is in a relationship that isn’t expected to grow. She is looked down upon, a societal minion, a cog in the machine, a thing to keep others occupied. She wants more, but more isn’t meant for androids like herself.
“My Name Is Angela” is speculative tale of growth. It is a story that would easily fit in a Blade Runner universe. Angela is a human-mimicking machine who strives to be more human. The grandfathers that built her did not design her to be any more than a functioning element in civilization. But she wants more and only the Soul Man can get her more. Angela lives with an android companion, Bruno. Their mundane lives take a turn when Angela smashes Bruno with a hot iron when her ‘no’ for sex wasn’t a satisfactory answer for Bruno. Angela is like any person who tires of a going through the motions. She wants more and is about to get it.
“My Name Is Angela” is a human tale. Angela is like many people who have settled into a life and is now unsatisfied with it. Unlike the rest of us, all she has to do is find the Soul Man to tweak her perspective. And change it does. Her unauthorized reprograming is viewed like an epiphany for Angela. Guilt for what she had done to Bruno wracks her. Suddenly, the lesson plan she has given her children is lacking in content. She wants to make a difference in her student’s education, be a better girlfriend to Bruno, and strive to make a positive mark on society. But society already has a place set for her, and upsetting the apple cart is not welcomed.
Harry Lang’s tale of a woman who expects more in life is one a colleague of mine could describe as a ‘never beginning story’. For a reader who didn’t go through the effort of submerging themselves in Angela’s character, the tale would read like an ordinary person’s ordinary life. Many of the characters in the story don’t like Angela’s enthusiasm. Bruno seems quite satisfied with the mundane quality of his life. “My Name Is Angela” unravels just like any tale of woman who was too eager to jump into adulthood discovers , there just has to be more to life for her. Compounding Angela’s problems is the prejudice androids experience. They are designed to take jobs humans look down on, so are naturally looked down upon by their human masters.
“My Name is Angela” is an ordinary character tale about an ordinary character who strives to be more than just ordinary. If you were ever looking for the type of story K D Wentworth loved to read, I would guess this one would have served as an excellent example. She loved character driven stories and this one runs on the sheer strength of the protagonist alone.
Grade B
“Lost Pine” by Jacob A. Boyd third place, third quarter
Gage and Adah have worked out a fine life for themselves at the Lost Pine. The former camp is now their refuge from a world devoid of adults. It has livestock, supplies, and doesn’t exist on a map. Gage’s carefully constructed concealment is comprised when a thin boy named Monk crashes through Gage’s barrier. Gage doesn’t trust him but Adah doesn’t want Gage to harm the stranger. Monk was once a camper at the Lone Pine and is surprised to find it occupied. He is willing to do his part to help, and says he will go if not welcomed, but Gage thinks that there is something to his story that doesn’t ring true.
“Lone Pine” is set in a world where aliens have sent spores to cocoon the adults and injured of the world. An armada approaches and is set to arrive any day. With the adults gone, civilization has degraded into a ‘Lord of the Flies’ society. Those cocooned are not quite dead. Why the aliens have chosen to preserve most of the people on Earth in such a way is never satisfactorily explained. The story takes a slight turn when the aliens land and begin to take the cocoons away. Gage doesn’t know if the alien’s motives are noble or sinister but is sure those imprisoned will not survive without their help.
“Lone Pine” centers around Gage. He is protective of Adah. She came to him when her parents were first cocooned years before. Now the once-small child is blossoming into womanhood and he can’t help to think of her as his possession. Monk represents competition and a connection to a harsh world that he has protected Adah from. He is jealous of Monk and of the interest Adah begins to show in him.
I confess, I did not like the way the author choose to tell this tale. Monk’s voice is virtually absent. What he says is relayed through Gage’s interpretation , a backhanded second person perspective but useful for the author to show the jealousy Gage has in himself. The arrival of the aliens is an attempt to add an extra dimension to the tale. Instead, it makes the characters more transparent than they already were. I believe the aliens were not needed. The story already had all the elements it needed. A pair of kids trying to live while the world outside has crumbled, makes for a good story all on its own.
Grade C+
“Shutdown” by Cory L. Lee third place, second quarter
Private Adanna Amaechi is a long way from a ballerina’s dance floor. The talents she picked up as a dancer makes her a good candidate for a scout. The aliens who have conquered Helenski Five had swept away the defenders with ease. Small insect-like robots that slice through anything that moves guard an alien base. The army needs someone who can steady their heart, control their breathing, and survive a cardiac arrest, to infiltrate the base. All Adanna will need is the will to come back after she has died.
Shutdown is a tension-filled sci-fi. Humanity knows very little about the aliens who have invaded and altered the worlds mankind already claimed for their own. The army needs intelligence but the robotic sentries guarding the alien base are movement sensitive. An earlier attempt to infiltrate the stronghold ended disastrously. Their solution is to kill their own scouts and revive them when the sentries are satisfied the infiltrators are not a threat. Adanna is a perfect candidate to carry out this mission. She is a former ballerina, her career cut short in an industrial accident. The life-like prosthetic to replace her fingers are beyond her means but the military promises they will pay for the operation if she completes the mission. Ballet is her life and she would do anything to regain the luster of the stage, even if she has to die for it.
The setting for “Shutdown” is on a conquered planet. Adanna is edging her way into the labyrinth of occupied territory. Her suit is instructed to kill her before a timed alien scan can detect her. While she is dead, flashbacks , as if her life is passing before her eyes , becomes the focus of the tale. I confess, the tactic the author employed was a little jarring at first but the story became very compelling once I caught up to speed on what was going on. Adanna is drawn as a character who has little left to lose and much to gain by accepting the mission. Earth needs intel. The aliens have effectively neutralized man’s technology and converted the atmosphere to a poisonous one. Just getting a look at their foe would be an intelligence coup.
I have mixed feelings about this tale. I loved the action and raised-hair-on-the-back-of-the-neck tension that ran throughout the story but the premise was filled with holes for me. If the aliens were that formidable, how did the army manage to get anyone within a light year of the planet? If they could get a ship close enough to land, couldn’t they get satellite images from above? Those were just a couple of the issues I had with it but I still managed to enjoy the story.
Grade B
“While Ireland Holds These Graves” by Tom Doyle third place, fourth quarter
Dev Martin returns to the scene of the crime. He is one of the programmers who created the AI reconstructs of Irish literary lore. The goal for the UNI was to enhance Ireland’s tourist industry but it instead ignited a nationalist revival. Now Ireland is about to be the lone nation to divorce itself from the one-world government. Dev wants to help set things straight but he needs to reach his former partner , and chief antagonist for the independence drive , Anna in hopes of convincing her to leave the European island.
“While Ireland” is a story for you if you have a special attachment for classical Irish authors. In fact, I can see why this story was picked by a panel of professional authors, the allure of rubbing elbows with some of the greatest poets and authors of the 20th century would be like playing in the outfield in Field of Dreams for a baseball enthusiast. One of the first characters Dev runs into is iconic James Joyce. Dev and Anna did such wonderful job reconstructing the personalities of the long dead, that Joyce is every bit like the real thing. Dev recruits Joyce to accompany him. The duo follow a trail of other famous literary giants in hopes of finding the programmer-turned-revolutionary before the borders of Ireland close for good.
The opening to “While Ireland” is first class. I was pulled into the narrative, but like other early 20th century classics (especially ones written by Irish giants), I found the story convoluted and heavy with a message I cared little about. Of course, I never had much interest in Irish literature (an attempt to get through the first ten pages of Finnegan’s Wake is a nightmare I sooner forget) so a day drinking in pub with any of these characters is not what I would consider time well spent. A bigger problem for me was the premise and sequence of events. It seemed the only people Dev walked into were reconstructed Irish author personalities, allowing him a virtual straight path to find Anna in three days on Ireland when he had no idea where to look from the start. Either all the rest of the real people in Ireland thought it wise to avoid the computer regenerations or Dev was one lucky seeker.
Although I found the writing top notch, the story itself wasn’t much more than a man’s stroll through the green hills of Ireland. Dev met his goals, attaining them remarkably easily (especially when no one , except Joyce , wanted him there). I felt the same way much of the world felt about the Irish nationalist movement and their icons , let them have it.
Grade C+
“The Poly Islands” by Gerald Warfield second place, first quarter
Liyang is on the run. A Hong Kong tong (organized crime syndicate) is after her and the valuable computer chips she has stolen. Desperate to escape, she navigates her boat into the island of plastic garbage floating in the Pacific. The tactic is foolhardy because she has no hope of escaping the tong if she runs aground. Fortunately, salvation comes in the form of a mysterious man in a plastic suit. Adam is one of the residents of the Poly Islands, a refuge from the world. With no boat, Liyang has no choice but to trust him. She soon discovers she, and her stolen chips, have become part of a power struggle, one that will decide the fate of the Poly islands for years to come.
“The Poly Islands” is a rare WotF stories for me. The further I read, the more I liked it. The islands are ruled by an Indian Guru figure known as Crab. Liyang first believes she has stumbled upon a new age community but the people who live here do not act like a cult. The residents are divided into two camps, the Chinese and everyone else. Liyang rubs the Chinese wrong when she elects to side against her own kind in favor of Adam and Crab. The island existence is the result of an ecological activist solution gone wrong. The short lived nation of California attempted to collect, then sink, the trash with buoys designed to attract the floating garbage. Instead the experiment changed the nature of the trash, creating a bonded material that travels on the currents of the Pacific as one large mass. The Chinese faction is led by Madam Woo. She wants to sell the chips and use the money to conquer the solid ground of a Pacific island, but Crab has other designs for them. Liyang wants no part of the power struggle, only wishing to escape the inhospitable islands and start her own life anew.
The story of “The Poly Islands” evolves, changing from a knuckle-grabbing action to an elaborate puzzle. Crab does not seem like a Buddhist monk to Liyang. She suspects his altruistic motive’s is nothing but an act, but he does know more about the Poly Islands than anyone else. The mystery of who he is and the nature of the islands, and how they relate to her computer chips, is the true allure of this tale. Although I did like this story, I felt the addition of the final scene did it a disservice. The story had a fitting finale without it. Instead, the author chose to write in a ‘where are they now’ type of epilogue that made the story more of a message piece than a straight up work of science fiction. Without it, I would have likely made The Poly Islands my personal pick of the anthology.
Grade A-
“Insect Sculptor” by Scott T. Barnes second place, fourth quarter
Adam Clements is a talented insect sculptor but has much to learn. He has traveled thousands of miles in hopes of apprenticing for the Great Gajah-mada. He must impress the Hive’s director, the gorgeous Isabella, first. Adam is good, but to be great he will need to overcome his fear wall; the fear of falling too deeply into the hive mind.
The premise of Insect Sculptor is intriguing and inventive. The sculptor’s form a psychic link with a colony of insects, creating works of art with the mass bugs. Adam can do much with his termites, commanding them to facilitate an elephant as his entrance test for Isabella. He quickly learns his abilities are elementary when he gets a sample of what Gajah-mada’s troop can do when he witnesses a show first hand. The Great Gajah-mada is able to mimic people so well they are passable as living humans, to the point where his own director proves to be a mass of bugs that has become sentient.
Adam is first turned away but earns a second chance. Gajah-mada no longer makes public appearances, leaving the show to his star, Wasserman, to hold it together, but Wasserman lacks the control needed to keep Gajah-mada’s complicated designs intact. Gajah-mada needs someone greater for he is not long for this world. Adam has the talent but has never learned to break down his own fear wall, but he is determined , for the show, for himself, for the Great Gajah-mada, and for the love of his life , Isabella.
It isn’t hard to see why this one won the contest. Unique, full of lively characters, and with a protagonist that develops with the storyline. The only thing that I can complain about it is it gave me the heebie-jeebies *shiver*. Nevertheless, a strong contender that was written well.
Grade B+
A Changing of the Guard
The Writers of the Future contest and the speculative fiction community suffered a great loss with the passing of Kathy Wentworth last year. A winner of the contest (when the number following Writers of the Future was in the single digits), she went on to become its coordinating judge and editor. It had become her primary job, occasionally crowbarring a novel for us to read, when she had time to step away from her judging duties to write them. All the stories submitted over the past few contests had to pass through her first. The stories you read in this anthology, as well as the ones of the past few years, were part of an exclusive pile she thought were the best of a very big bunch. It was her job to pick eight stories each quarter for an impressive finalist panel to read. Granted, the stories of the anthology make up only 40% of the entries she chose as the finalists, but of the thousands submitted they represented a good cross section of what she felt were professional material worthy of publication.
Many writers sought the secret elixir to winning the contest. Kathy would offer a few tidbits of what a writer needed to do win , the speculative element needed to be on the first page, the story had to be character driven, and writers should steer clear of well-worn tropes (vampires, dragons, and the like). She would warn writers that humor had little chance but for the most part, it was submit your best. After reading the anthology over all these years I think I can finally see the type of story Kathy gravitated towards , the submissions that worked hardest at telling a story.
I imagined in her youth, a young Kathy who refused to go to bed without a bedtime story. I can see that love carrying her into adulthood. If you could tap into that childhood craving, she likely read your entry from beginning to end. If you gave her a protagonist she could fall in love with and a world worth exploring, you probably had her hooked. And if you didn’t deviate too far from your plot, you were likely in the running. Following the rules of writing that our often dictated to the amateur writer didn’t matter as much to Kathy as unraveling a premise she wanted to view. If you failed to appeal to her fairy-tale loving child hidden within, you probably never stood a chance , no matter how good your first readers said your story was.
Taking over the coordinating judging duties is previous Gold Award winner (WotF 3) Dave Wolverton (a.k.a Dave Farland). He has been a consistent finalist judge and a previous coordinating judge for the contest. His credentials are extensive , it can be argued that he is the most successful author to come out of the contest. Although you can still expect the winning entries to be the best stories submitted, don’t be surprised if upcoming anthologies have a different flavor to them.
On one of my writer forums that I often frequent, a sort of study group was committed to identifying what impressed K D Wentworth. Her words and advice were dissected. Semi-finalists would share their critiques. Honorable Mentioned, and others not as lucky, would puzzle on why their entries didn’t do better. They need not dig so deep for Mr Wolverton. The new coordinating judge teaches a workshop for writers. He offers free advice on his Daily Kick In The Pants blog, and has dedicated a few articles on tips for the contest, and here is my own Cliff Notes version of what he has to say on the subject.
Now I’m not saying the winners that came through Kathy first weren’t of a professional quality, nor am I saying those winners wouldn’t have been picked as a finalist for Dave, but I will say motivations between the two are different. I can sum up the differences between them in two sentences.
Kathy Wentworth expected writers to be able to tell a story.
Dave Wolverton expects writers to be able to write.
So, I am expecting less of a fairy tale quality in the anthologies to come and a sharper prose for the winning stories. I am also betting that the new winners will have a little more action in them but with a little less heart in its characters. Of course, I could be completely wrong. Writers of the Future Vol 29 is on the way and I can’t wait to see what it holds.
Kathy D Wentworth (1951-2012) was a fixture in the Science Fiction and Fantasy community. Four time Nebula nominee, WotF coordinating judge, and all around alright gal, She Who Must Be Impressed (my pet name for her , I already trademarked it so don’t even think of it) will be sorely missed. Her story, Daddy’s Girl, debuted in Writers of the Future Vol 5, and marked the beginning of an impressive career as a writer. She was the willing participant for one of Diabolical Plots first interviews (which can be found here) , something we are very grateful for.
I owe her a degree of thanks, for the Honorable Mention certificates I have tucked safely away, and for her appreciation for my quirky sense of humor. Although my bribery attempts were never successful, she made me feel as if she looked forward to receiving them every quarter.
I’m a bit tardy in posting this, but in February Daily Science Fiction published another of my stories: “Coin Op”. It’s a comedy, based around sex. It is definitely mature content, so if you don’t care for that sort of thing, just skip it. And feel free to let me know what you think of it. Here it is.
Some big changes at Escape Pod in 2012:
–They were officially added to the SFWA list of professional markets, the first audio market to do so.
–Mur Lafferty announced her resignation of the editor position, official at the end of the year, citing too many projects that she’s signed on for.
Some momentous moments for me personally with Escape Pod in 2012:
–I sold them a story for the first time, “Marley and Cratchit”, which was published in December as their Christmas episode. It’s the secret history of A Christmas Carol, with alchemy. I, of course, did not consider my story for my list.
–That sale was my third and final sale needed to qualify for SFWA.
After the new year, Alasdair Stuart took over as interim editor until Norm Sherman (of The Drabblecast) could take on the role long-term.
Escape Pod, the original speculative fiction podcast, continues on, stronger than ever! Long live Escape Pod! On to the list.
Doing these lists is always interesting to me, because I often never realize how much I like a particular author until I see him/her twice on one of these lists.
1. The Paper Menagerie by Ken Liu
This story won the Hugo for Best Short Story in 2012, and the award was well deserved–I voted for it to win myself. It’s the story of the American son of a mail-order bride and his relationship with his mother.
2. Devour by Ferrett Steinmetz
This is one of my Hugo nominations for Best Short Story in 2013, the story of a man whose lover has been taken over by a biological weapon, a contagious personality seeded in times of war to take us over.
3. The Ghost of a Girl Who Never Lived by Keffy R.M. Kehrli : In the future, technology for cloning and memory transfer is commercially available, and is often used to replace lost loved ones who’ve died suddenly, giving them a new body with their old memories. But when the memory transfer process terminates prematurely, is the person who wakes up a faulty version of the old person or are they a new person entirely?
4. “Run,” Bakri Says by Ferrett Steinmetz
A terrorist organization creates a technology that allows a single person to repeatedly start their lives from a certain point in space and time, much like a video game save point. This technology is used in this story for a woman to try to rescue her brother from a heavily armed military compound. She can repeat the attempt as many times as it takes. I’m sure this story appeals to me in large part because it’s like a real-life version of a video game.
5. Contamination by Jay Werkheiser
The story of a multi-generation expedition to study life on a planet without touching it for fear of contaminating the results, and a second expedition that arrives, in conflict with this one. I first read this in Analog, and I’d thought it a little dry at the time which is fairly often my response to Analog stories. But as time went on my mind kept wandering back to it again and again. I really like the characters in it, trying to find ways to live with themselves while operating within the limits of their societies. I listened to it again here after I’d been contemplating it off and on for months, and I like it more and more.
6. Like a Hawk in Its Gyre by Phillip Brewer
An ex government researcher with heavy mind modifications is just trying to live a normal life after he’s done serving his time, but he still has to live with the modifications they’ve made to him to ensure secrecy. Somebody is after his secrets.
In 2012 Podcastle published 51 feature stories, with 8 miniatures. This is the one of the Escape Artists podcasts that I haven’t managed to get a story into yet, but I listen on! Dave Thompson and Anna Schwind continue their tenure as editors, and there were plenty of good stories to pick from.
1. In the Stacks by Scott Lynch
A full cast recording, unusual for Podcastle. A story about magicians-in-training going into a violent magical library as a test of their abilities.
2. Recognizing Gabe: Un Cuento de Hadas by Alberto Yaà ±ez
This one surprised me. I felt like I knew where it was going, but it surprised me in a very good way.
3. The Tonsor’s Son by Michael John Grist
“I knew from the moment I saw him that his beard was full of evil.” There’s one scene that many of the forumites found hard to take, but I think everyone who kept listening was okay with it in the long run.
5. Accompaniment by Keffy R.M. Kehrli
A kickass dark flash.
6. Destiny, With Blackberry Sauce by David J. Schwartz
I’ve seen stories before where someone tried to avoid their destiny, but never as hard as in this story.
Workshop instructors Kristine Kathryn Rusch and Dean Wesley Smith take a different approach to coaching writers:
“We do critiques at first because people want them. We time the critiques and give rules:
If you liked this and would have bought it as an editor/reader, then say that and nothing else.
If it’s not your genre or your kind of story, say that and nothing else.
If you would like it and would buy it if x, y, and z were fixed, then say that.
And say what you believe is strong about the story. No grammar nits.
You have only one minute in which to say all of this. If you go over, you get cut off. If you’re under, that’s good.
Then we teach them how to read like editors/readers. If they don’t get caught by the beginning, they don’t have to keep reading.
They’re done. They can move onto something else.
From that point, the “critiques” are this:
“Stopped at page 1, paragraph 2”
“Read until page 10, liked it, then stopped on paragraph 3 because the character did something unbelievable.”
“Read it, liked it, not sure I want to buy it.”
“Read it, liked it, but not enough to buy.”
“Read it, loved it, will buy it.”
And that’s all.
Dean and I will then interpret,if everyone stops on paragraph two, there’s clearly a problem with the opening, but if people fade out,some stop on page 10, some on page 5, most on page 7, then the pacing is off, etc.
If we hated the story, but 3/4 of the class loved it, we don’t critique it in depth, because all that writer has to do is mail the story, and 3/4 of all readers who like that kind of story will probably like this story.
We have great success with this method because it mimics the real-world way people read.”
Carl Slaughter:Much if not most of this is in direct contrast to other workshop strategies and rules. For example, at Critters, the largest and oldest online speculative fiction workshop, the minimum word count for getting full credit is 200. Longer critiques and detailed critiques are encouraged. They even offer a Most Productive Critter Award for people who crank out the highest volume of feedback. Clarion, the Harvard of onsite workshops, devotes a large portion of its schedule to peer critiquing. At Odyssey, 50% of classroom time is peer critiquing: “Everyone in the class learns to become a top-notch critiquer, providing insightful feedback on your work. Workshopping sessions are designed to maximize their helpfulness.” How did you arrive at conclusion that brief peer critiquing is better than the longstanding and almost universal practice of extensive peer critiquing?
Kristine Kathryn Rusch: I am an editor, and I know what an editor’s job is. The editor must find something that readers will like and buy. Readers don’t care if a comma is missing on page 64. Readers want to know if the story is good, if the characters are memorable, and if the book pulls you all the way through to the end. When you reach the end, do you want to read the next book. If not, then your book failed. It’s really very simple.
If you look at the history of peer critiquing, you’ll see that it came out of the university system. The man who “invented” it later repudiated it. It’s a way to keep students busy without doing much work yourself. Now it’s become this monster that destroys writers and builds up critics rather than helping writers.
If critiquing were so important, then great writers of the past would have come out of workshops rather than out of their own practice and enjoyment of great fiction.
CS:Jeanne Cavelos, former senior editor of Bantam Doubleday Dell, is director of the Odyssey workshop. She says, “You should not apply unless you are ready to hear about the weaknesses in your writing and ready to work to overcome them †¦ We target those weaknesses one by one and work to conquer them †¦ In critiquing stories, I give the same unflinchingly honest, concrete, detailed feedback that I provided as a senior editor.” But you were an editor too. You were the editor of a leading magazine for 6 years. You said you shared that view back then, but now you believe in emphasizing strengths. How did your view evolved?
KKR: I have spent the last ten years teaching professional writers how to save their careers. Most careers fall apart for two reasons: 1) a lack of understanding of business and 2) a lack of belief in your own voice. Workshops destroy voice and make a writer doubt. I have “repaired” so many writers who went through decades of peer critiques. Those writers stopped listening to “what’s wrong,” started learning what they did well, and began to sell their work again. Hell, most of them started writing again, because peer critiques had frozen them and made them stop writing altogether.
CS:OK, so you’ve got a system for establishing popularity. What about recognizing literary value. From “War of the Worlds” to “Harry Potter,” many classic stories were initially rejected by leading editors. Some were rejected several times, “Dune” being the most famous example. Suppose the census of the workshop critiques is to pan what turns out to be the next “Flowers for Algernon.”
KKR: Oh, the art question. It’s so silly. Readers determine literary value. They always have. They pass memorable works to their friends and then to the next generation. If you don’t have readers, your work will never have literary value. It’ll never get passed on. So popularity and literary value are related. Do most popular novels get read 100 years later? No. Were all novels we read 100 years later popular in their day?
Most workshops do pan works that will become popular, because those works are based on voice and vision, something peer critiques destroy. You cannot write by committee. You cannot learn to write from a committee, particularly one that reads critically.
Readers read for enjoyment. Writers in peer critiques do not. So they automatically misread a story when it’s presented to them.
CS:Your workshops are 4 days and 8 days, whereas others are several weeks. Why only a fraction of the usual time?
KKR: Because working writers (and people with day jobs) don’t have several weeks to devote to a workshop. Only students and retired people do. When Dean & I teach workshops, we look for people with drive. People with drive generally can’t take a summer out of their lives to sit around and chat about literature. In fact, people with drive get bored at such things.
We structure our workshops to appeal to people who have the drive to succeed, the willingness to work hard, and the ability to learn.
By the way, even though our workshops are shorter than the other workshops, we force our students to write more. They write tens of thousands of words at our workshops. At the others, they might write a story or two.
CS:Do you and Dean provide verbal or written feedback or both? How long are your written critiques? How long are your written critiques?
KKR: We provide some verbal and written feedback. We tell writers they can ignore everything we say. We never write more than a paragraph on the back of a manuscript. We also write and mark what’s good about the manuscript.
CS:How much time do the workshops devote to feedback versus revision?
KKR: We don’t believe in revision. That’s a waste of time as well. Write the next story. No musician becomes good by going over the same piece of music at the expense of all others. We move the writers forward, asking them to write new material while keeping in mind what they learned about the old material.
We spend a lot of time debunking the “revision” myth. You cannot fix a broken manuscript. The manuscript is not the story. If you like the story and it didn’t work, then you must start from scratch and write it all over again.
CS:What portion of your feedback is devoted to structure, clarity, character development, etc?How much macro focus and how much micro focus?
KKR: All of it focuses on the story, character, and voice. None of it focuses on the words.
CS:Stanley Schmidt once said, “The first sentence of a story usually tells me whether I’m in good hands.” Sheila Williams said, “Get my attention in the first paragraph.” Mike Resnick said, “Put everything you’ve got into the first page.” The cutoff for the Hatrack workshopis 13 lines. How much of your workshops are devoted to opening sequences?
KKR: We don’t waste time on sentences or words. I really can’t emphasize that enough. Nor are the above comments from Sheila, Stan & Mike about words. They’re about how fast the writer takes the reader into the story and away from the real world.
CS:Is this practice even a good idea for editors and authors alike? How many good stories have been rejected because the first impression wasn’t awesome?
KKR: None. If the opening isn’t good, the story isn’t good.
CS: Are your workshops for short fiction, novels, or both?
KKR: It depends on the workshop.
CS:What are the most common misconceptions writers have and how do you address those misconceptions?
KKR: That words and critique are important. Story and business will give them a career. Focusing on one manuscript won’t help at all. Most workshops teach writers how to write one beautiful story. Most do not teach writers how to have a career. Yet writers want a career, and they’ve just wasted their precious time learning stuff that will hurt their careers rather than ever help them.
CS: What are the most common mistakes writers make and how do you address those mistakes?
KKR: They don’t learn how to write fast, how to write a lot, how to practice, and how to tell a story. That’s craft. But the biggest mistakes they make are ignoring and refusing to learn business. It doesn’t matter how well you write. If you can’t tell a story, your work won’t sell. If you can tell a story and don’t know business, someone will take advantage of you. It happens all the time.
CS:Do you advise writers to submit stories indefinitely or do advice them to put a story on the shelf after half a dozen or so rejections?
KKR: Keep submitting. Or self-publish.
CS:Do you ever tell a writer to adopt a different vision for a story? As in, “This story would be better/more marketable if you took it in a fundamentally different direction?” At what level of revision does the story cease to be the writer’s story and become the instructor/editor’s story?
CS:Do you ever completely rewrite a passage or scene for a writer?
KKR: No.
CS:Is there a place for telling an author, “This story is fundamentally flawed. It has no hope. Abandon this project and move on to something workable.”?
KKR: God, no. And anyone who says that should never be allowed near writers again.
CS:Is there a place for telling someone, “You’re not cut out to be a writer.”?
KKR: Who voted that critic God? No!!!! That’s horrible. Again, that person should never ever ever be allowed near writers again.
CS:What about your new online workshop for beginners. How will that be organized? What skills do you teach? How many stories do they submit? How many times do they revise the same story?
KKR: They’re craft workshops. The writers learn new tools. They become aware of the tools. They do not submit stories. They do not revise stories (see above). They certainly do not waste their time revising the same story.
CS:The Clarion website says one third of participants get published. Odyssey cites a success rate of 56% of graduates. Critters has an announcements page for critiqued stories that get published. Do you keep statistics for stories that got critiqued in a workshop and later got published, or writers who participated in a workshop and later got published? How do you, and potential students, know your new approach works?
KKR: We don’t take credit for our students’ successes. We provide information. If they want to use that information, that’s their business.
CS:Now that you’re conducting your own workshops and now that you’ve adopted a different workshop philosophy/MO, does this mean you won’t be participating in other workshops?
KKR: No one asks any more. We tried teaching our way at Clarion in 1992 and got banned. I suspect others don’t want us either.
CS:What do you recommend for writers who can’t afford a workshop, can’t travel, can’t take time off from work, haven’t been able to beat the competition for a workshop seat, and so on, and therefore don’t have the advantage of personalized feedback from experienced writers and editors?
KKR: Stop stressing about it. You’re probably better off not going. Write a lot, practice new techniques, mail everything you write even if you think it’s bad, and keep at it. Learn business. You’ll be a success eventually if you do all those things.
Carl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.
His training is in journalism, and he has an essay on culture printed in the Korea Times and Beijing Review. He has two science fiction novels in the works and is deep into research for an environmental short story project.
Carl currently teaches in China where electricity is an inconsistent commodity.
Not too much to say in preamble to this list. Pseudopod is awesome as ever. You should listen to the show. Here’s some of my favorites that you can check out.
1. The Crawlspace by Russell Bradbury-Carlin
I couldn’t tell throughout this story where it was going, which is hard to find these days. Creepy, compelling, good stuff.
Almost three weeks have passed since Anthony Sullivan and I launched The Submissions Grinder, a web-based tool for writers to find markets, track submissions, and look at market response statistics. At the time of launch the site was very simple, with a limited set of features, and admittedly some stability issues.
Just because we are the only free option does not mean that we have been resting on our laurels. We have been working hard on the site. The site stability issues of those early days have been resolved. New features, enhancements of existing features, and bug fixes have been added steadily. We now have more than 900 approved market listings, and counting. We have hundreds of registered users who have logged almost 8000 submissions into the system.
We would like to extend a heartfelt thanks to everyone who has registered, logged submissions, spread the word about our site, reported bugs, suggested market listings, suggested features, volunteered to keep market listings up to date, donated money to us, or shared feedback. We are glad to know that our effort has not been in vain, and that our tool is serving as a resource for writers like us.
Now that the Grinder has been around for a while we just wanted to share some of our favorite features that are now in place, and some features that are in the works. The Submissions Grinder is worlds better than it was at its launch on January 7, but we’re not done yet. These are just a few of our current and future features in the works.
Please feel free to leave comments here or elsewhere about what features are important to you, what you think of our current and planned features, or anything else that you’d like to say.
The Present
The Core Functionality
These are the core functionalities that make the site a worthwhile tool.
Submissions Tracker
The Grinder keeps a list of your fiction pieces, and you can make entries for each submission of each story, keep track of which ones are pending. You can quickly filter your results down to show just the set you are interested in, such as all the submissions made to a particular market, or all the submissions of a particular story.
Market Search
You can search for new markets for your work, based on various parameters, including length, genre, pay rates, and many other factors that are important to us writers. If you’re a new writer, this kind of tool is essential to finding places to send your work. If you’re a veteran writer, you might still find something new from time to time.
Market Response Statistics
This is really the most valuable thing that this system provides. The data from every submission is combined to make anonymous statistics for all to view, so you can see the response times for different markets to decide where you want to submit or when to query an existing submission.
Revamped Appearance
For the initial release, we focused primarily on getting the core functionality working, and then on squashing bugs and improving the feature set. But we’ve gotten a lot of feedback that said that the Courier font used for the site was hard on the eyes. We want to make the site as friendly to you users as we can, so we listened to that feedback and changed the font of most of the site to make it more readable. We also added colored boxes and shadows to offset and emphasis certain areas of the screen and to add some variety. And we now have a logo. This has been a recent change, and we’d like to know what you think of the new look, so do give us comments.
Response Time Histograms
For each market, we provide numbers that show the minimum, average, median, and maximum response times. But we’ve also added a new feature that sets us apart–response time histograms. There’s only so much you can gather from looking at those four statistical numbers, but you can get a much better feel for a market’s response times by seeing a response time histogram, which are included with each of our market listings.
For instance, here is a snapshot of the histogram from Orson Scott Card’s Intergalactic Medicine Show. You can see that there is a very strong peak of responses that take place at about 30 days. There are some that are shorter, even down to 1 day, and a smattering of longer ones. This is very representative of my experience with the magazine. They have a very steady slush response time at about 30 days, but stories that make it out of slush are much less predictable and longer, while the shorter response times can be the editor plucking stories from the slush directly or for writers that may have more history with the magazine and bypass the slush. With just a quick glance you can get a very good feel for these details by looking at this graph.
Personal Statistics
Another feature that sets us apart is that in your account you can view personal statistics that tell you what kind of responses you’ve gotten each year you’ve been submitting, with each market, and with each story. With these you can quickly answer questions like “Which of my stories has gotten the most personal rejections?” “How have my acceptances compared from year to year?”
The Future
Post-Acceptance Tracking
When your story gets rejected, that’s all there is to that submission. But when your story gets accepted, there’s more bookkeeping to do! Our system will be able to help you with that to keep track of things like:
–Dates that contract was received/returned
–Date and amount of payment
–Date of publication
–Length of exclusivity period specified in contract
With this information the system could provide powerful answers to certain questions like:
–“How much money was I paid in 2012?” (useful for taxes as well as personal goals)
–“Which stories have been accepted but not paid for?”
–“Which stories have been accepted but not published?”
–“Which stories are available to submit right now?” (would exclude stories that are accepted but unpublished, and stories which are published but within the exclusivity period)
Poetry/Nonfiction Market Listings
So far all of our listings and data fields are fiction based. We will add poetry and non-fiction listings to help writers keep track of those too.
Support for Listing Management by Editors
We intend to put a system in place to allow staff members of publications to participate in the upkeep of their page, such as opening and closing dates, changes in rates, adding in seasonal themes/guidelines, etc. This will help the markets keep their pages as accurate as possible which will help encourage a volume of quality submissions, and will help ease the load on us as we try to keep listings up to date.
Scheduled Openings/Closings
Right now, openings and closings of markets are manually entered by us. But there are many cases where markets schedule their opening and closing dates far in advance, so there will be support added to automate this process.
“Ignore Market” Setting
Writers may decide never to submit to particular markets, for editorial policy, personal feelings, or for whatever other reason. Each writer will be able to choose to ignore that market so that it will not come up in their searches anymore.
Customized RSS Feed of Responses
On the homepage of The Grinder website, you can see the 40 most recent responses across the whole site. We intend to provide something similar that shows you such recent responses but only for the markets where you have pending submissions, so that you can tell at a glance where the response activity is happening.
Newsletter
When you register for The Grinder, you check a box to indicate whether you want to receive the newsletter. We’ve been busy enough with other things that we haven’t implemented the newsletter yet. But we will! It will contain information such as:
–New markets added
–Opening/Closing of markets
–Users who have sold stories (only those that have chosen to have their names shared for their acceptances)
–Grinder features/bug fixes
–Other things that you might interested in (Leave comments if you have ideas!)
Personalized Histograms
Right now the histograms are shown for every market. But in the future, if you are a logged in user with pending submissions at that market, those pending submissions will be marked on the histogram with a line, so that you can see where you lie in the spectrum of response times so far, giving you a quick visual queue about how unusual your current wait time is.
What You Can Do
If you like what we’re doing, give us suggestions on how we can be better, suggest new market listings, report bugs, upload your data and use the submission tracker. We’ve added a Donate button as well–we appreciate anything you can give, and we maintain our commitment to not require any payment to use the site. Thanks!
Toasted Cake is a podcast launched in 2012 by writer Tina Connolly. She labels it as an “idiosyncratic flash fiction podcast”, and has managed to maintain a pace of a story a week for all of 2012. Her original aim was to do the podcast for all of 2012, but at the turn of 2013 she has decided to keep on with it, perhaps encouraged by her Parsec Award for “Best New Podcast”.
The stories are generally pretty quick listens, good for filling a few minutes of idle time. They also work well strung together on a road trip as I listened to them–the change of story every 5-10 minutes kept it easier to stay awake and alert.
Apparently I’m a fan of Caroline M. Yoachim–her story “Pageant Girls” was on my Best of Pseudopod 2011 list and appeared here as Toasted Cake #1–it may very well have ended up on the list as well, to make a Yoachim hat trick, except that I have set a rule for myself to not consider any story for more than one list so that each list has a unique set.
1. Deathbed by Caroline M. Yoachim
A man who remembers life in reverse order is on his deathbed. This is the story of his end from the point of view of his wife (who remembers things in the usual order)
2. On Writing “How an Autobot sunk the Titanic” by J. Bradley
A “behind the scenes” kind of look at a book that doesn’t exist. It’s a ridiculous idea, as you can guess by the title. Ridiculous enough that I would buy it.
3. The Occupation of the Architect by Jason Heller
Sentient buildings rise up and put an architect on trial for his crimes against buildingkind.
4. The Choir Invisible by Anatoly Belilovsky
A sentient vacuum cleaner tries to make the most of the time that it has.
5. Dear Ms. Moon by Liz Argall
A series of letters written to the moon, pleading for it to help the protagonist’s younger brother not fall so hard.
6. Zing Zou Zou by C.S.E. Cooney
The machine uprising, focused on a children’s schoolteacher bot.
Vermilion Dreams by Claude Lalumià ¨re Written as a series of book reviews of fictional books, entertaining, only part of the original list of books in the original publication.
Mothership by Caroline M. Yoachim A ship who is literally a mother tries to do what is best for her child.
Nebula nominee, frequent Analog byliner, Writers of the Future first place award winner, 2 time Phobos Fiction Contest winner, 6 time Analog Readers Choice Award winner, Odyssey graduate, and longtime Critters member Carl Frederick is camera shy. As you can see from the photo, even his pet cat is shy. He likes cats and dogs and they are prominent characters in many of his stories. Frederick is known for his hard science stories. He’s had 40 plus short stories published in Analog. Lately, without letting up on the hard science stories, he has delved deep into character driven stories and even literary science fiction. Or rather, stories with strong character development well blended into the hard science element – and vice versa.
CARL SLAUGHTER: Is “Trojan Carousel” your first novel?
CARL FREDERICK: It’s the third or forth. I’m not sure. And as for my first two novels, I’d sort of like to forget that I’d written them. They say a writer needs to write a half million or so words of crud before the good stuff can get out. I think I’m well past that number now.
CS: The main characters are boys in a science school. Does this mean YA is the target audience?
CF: Partially, yes.
But the Harry Potter books were a sea change. Up until then, books with kid protagonists were indeed read by adults, but with a sense of embarrassment. Now, post Potter, adults can read such books even in public places. So ‘Trojan Carousel’ is also aimed at adults who might like reading about kids.
Most of my short story output has gone to Analog Magazine which is not generally perceived as a YA magazine. But I believe it is. Most of the stories therein have the sense of wonder, the avoidance of bored cynicism and sophistication, the optimism, that IMO characterizes the world view of kids.
Thinking about it now, I guess I consider ‘Trojan Carousel’ a book for bright kids or for physicists (who in many ways are like bright kids).
CS: Why a novel about preteen boys?
CF: Richard Feynman speculated that if kids were introduced to quantum mechanics concepts at an early age, they might (unlike physicists in general) be completely comfortable with those concepts. Exploring that idea is one of the thrusts of the novel.
CS: The adults are minor characters. Why not have them more involved in the plot? Why not have them more involved in the lives of the boys?
CF: I wanted the book to have something of the flavor of ‘Lord of the Flies’: Kids’ lives unconstrained by adult supervision/control. I also wanted the book to reflect the ‘school story’ genre. Arguably the finest example of same might be ‘Stalky and Co.’ by Kipling–one of my favorite books when I was a kid. The three boys in ‘Trojan Carousel’ who are dorm-mates parallel the three study-mates in ‘Stalky’.
CS: Identify the themes of the story and explain, without major spoilers, how those themes are addressed.
CF: Outwardly, the book is about kids (aged twelve or thereabouts) in two schools on one campus: one (The Amdexter School) a traditional posh faux British boarding school and the other (The Feynman Elementary School for Advanced Physics) is for super-bright science and math kids. The two school populations coexist on friendly terms at the start. But then due to a clash of cultures, things gradually turn bad, leading to a war between the boys of the schools.
The subtext is modern science and how we interpret it, and also on the nature of scientific inquiry.
I acknowledge that this is a poor answer to your question. But I think an author is the very last person to consult about the themes in his writing.
CS: One of the main characters dies. Why is this necessary?
CF: Oh, gosh. I tried very hard not to kill him. But I couldn’t make the book work with him remaining alive. And his death allows the protagonist to deny the death somewhat in the way of ‘Schrà ¶dinger’s Cat’, i.e. he’s not dead (or alive) until observed as such. That interpretation, by the way, is not what Schrà ¶dinger intended. He proposed the cat paradox to show that in some instances quantum mechanics gave unrealistic answers. He considered that a problem with the science.
CS: Science exercises are sprinkled throughout the book. How do these science exercises serve the story?
CF: They’re not exercises, exactly. And they’re at the back of the book. In a number of chapters, when the reader gets to the end, s/he can continue the science discussion in the chapter by going to the back of the book where the chapter continues. Or one can skip the back of the book and simply continue with the story. The ideas of quantum mechanics are interwoven throughout the novel, and I wanted the reader (if desired) to be able to appreciate those ideas–to appreciate the wonderful and beautiful weirdness of quantum physics.
CS: You’re known for your hard science stories. Why not a hard science novel?
CF: I think it IS hard SF, maybe very hard SF. I consider much of what is called hard science fiction to be actually science engineering. I don’t see many science concepts in SF and I wanted ‘Trojan Carousel’ to be about science. I think the novel after ‘Trojan Carousel’, ‘Wizards of Science’ is much more in the traditional mold of a hard SF novel.
CS: Lately, you’ve been writing more character oriented stories. What’s the explanation for this and will the trend continue? Have you had any success marketing these types of stories? Any success marketing “Trojan Carousel?
CF: In addition to doing physics, I’m also an engineer in the fast moving electronics industry. And compared to high-tech industry, book publishing is very slow. I’d say even compared to the movement of glaciers, book publishing is slow. I don’t have the patience for it. So I’d decided to self-publish e-book versions for Kindles and Nooks. The problem there is getting noticed. I found I didn’t have the stomach for self-promotion that self-publishing seems to require. My e-book sales therefore, are not exactly stellar. Occasionally nice things happen though. Last year, after one story of mine in a series came out in Analog, someone in Germany found the other stories in the series in the Kindle version. S/he bought them and a few hours later, bought one of my novels. By the next morning, s/he’d bought everything I’d written. And a few days later came another sale (presumably to another person) from Germany. But there it stopped. No chain reaction, unfortunately. But it was neat finding I had a fan.
In general though, I think most of my sales come from people stumbling on my titles. My best selling title is a short story collection, ‘SF++ Science Fiction Stories for Linux Geeks’. I rather imagine the buyers had been looking for technical books about Linux.
I’m considered a successful sf short story writer. But ‘successful short story writer’ is rather an oxymoron. Very few can make a living doing it. I guess I write because I want to be read, not to make money from it–although some money would be nice.
To answer your question about marketing ‘Trojan Carousel’: very little success, mainly, I think, because I don’t do any marketing.
CS: Most of your stories are in Analog. The longtime editor of Analog recently retired. Will that affect your relationship with the magazine? Will you branch out into other markets?
CF: I know and like (and have long worked with) the new editor. So I hope my relationship won’t change. But the previous editor, Stan Schmidt, is a physicist, as am I. And I believe we physicists think differently and have different reading tastes than ‘civilians’. So the new editor’s reading preferences might be less similar than previously to my writing preferences. I hope I’m wrong.
As to new markets, I admit that yes, I am looking for them.
CS: Any more novels in the works?
CF: Several. I’m working on one now, ‘Duplex Alpha’. It posits that world and science problems have become too complex to be addressed by the human brain. But evolution has come to the rescue by bringing forth a new type of identical twins who (by their ‘twin language’) can to a large degree think as one (an extreme example of ‘two heads are better than one’). They are feared and oppressed by the establishment.
I also have the sequel to ‘Eridion’ (a space opera) in the works.
CS: Do you run all your manuscripts through the Critters Workshop? How does the feedback affect your revisions and how do the revisions affect the marketability of your stories?
CF: I rely heavily on Critters and run all my short stories through the workshop. I rewrite heavily based on the critiques and believe that, in all cases, the rewrites have resulted in greatly improved stories. I do weigh the critiques based on the critiquers. Some of the critiquers hate everything and seem to just like to tear down writers and writing. Some seem to have just started learning English. Some write absolutely incomprehensible critiques. But most are terrific. And many find ideas in my stories that I didn’t even know about. I don’t know what I’d do without Critters. I write individualized thank yous to every critiquer of my stories.
And speaking of thanks, thank you, Carl, for giving me the chance to discuss ‘The Trojan Carousel’. Because of the (optional) back of the book chapter continuations, I regard the novel as something of an experiment. I’m very fond of the book and still, when I think of the aforementioned death, my eyes tend to mist over.
While yes, it would be great if people bought the e-book (or any of my books) for Kindle from Amazon, I’m more concerned with readership than with income. Accordingly, if readers of this interview want copies, I’d be happy to provide them by e-mail. Readers can go to my website, click on e-books and further click the book title and then click on the ‘e-mail for free copy’ button.
Carl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.
His training is in journalism, and he has an essay on culture printed in the Korea Times and Beijing Review. He has two science fiction novels in the works and is deep into research for an environmental short story project.
Carl currently teaches in China where electricity is an inconsistent commodity.