Procrastinations #13 is finally here! Featuring contributions from myself, Claire Brialey, Meg Frank, Crystal Huff, and Hannah Peaden, I’m excited to be able to share it with you all. This issue’s theme was convention burnout, and you can download it now!
Recently, I read a tweet that moved me to respond to the author.
My podcast is never going to be nominated for a Hugo, but I just discovered it's not eligible for the podcast category. Wacky.
— Jason Snell (@jsnell) March 24, 2014
The reason Jason tweeted to say that his podcast (The Incomparable) wasn’t eligible in the Fancast category was that he takes sponsorship. Both he and I thought that rendered him ineligible for any fannish category, due to the fact it represents a revenue stream.
I tweeted at Jason, and we discussed podcasts and their place in the list of Hugo Award categories. There are two categories in the last couple of years that have seen podcasts nominated. The first and most obvious is Best Fancast, in which a range of fannish podcasts have been nominated but which is specifically for non-professional ventures. The other is Best Related Work, in which Writing Excuses was nominated in both 2012 and 2013.
A Professional Publication is one which meets at least one of the following two criteria: (1) it provided at least a quarter the income of any one person or, (2) was owned or published by any entity which provided at least a quarter the income of any of its staff and/or owner.
The definition of the Best Fancast category as expressed in the same document is — to preçis — any podcast that is “non-professional”, i.e. any podcast that does not meet either of the above criteria. I have been told that the reason that Writing Excuses is not eligible as Best Fancast is because it is published by Brandon Sanderson’s company, which qualifies it as a professional work.
What this does mean, however, is that any podcast with sponsorship and adverts can be nominated for Best Fancast, as long as that sponsorship does not make enough money to qualify the podcast as professional.
Where this becomes somewhat less clear is in the case of podcast collectives. The Incomparable is a part of the 5by5 network, which employs Dan Benjamin on a full-time basis, so anything published by or owned by 5by5 counts as a professional work. A podcast collective does not own the podcasts that belong to it, but I don’t know how a Hugo Awards administrator would rule on whether a collective counts as publishing the podcasts that belong to it. Jason argued that it wouldn’t in an email to me, writing:
I own my show (5by5 hosts it and sells some of the advertising, but I have all creative control as well as our separate site at theincomparable.com) so 5by5’s business status probably doesn’t connect.
I agree with Jason — it seems clear to me that podcast collectives are not publishers. Despite my opinion, however, the word ‘publish’ is not explicitly defined in the WSFS Constitution and so I can’t be sure of how an administrator would rule on the issue. I would argue that the fact that 5by5 has no editorial control over the podcast means that they don’t publish it, but I suspect there are arguments one could put forward to argue the reverse. I hope that future administrators would agree with me, but without a test case there’s no way to know.
Therefore, the only logical conclusion is to nominate The Incomparable as Best Fancast and watch what the administrators do! Go nominate it now, and I’ll write a follow-up blog post when it’s announced as a nominee at Satellite 4.
Thanks to Andrew Trembley and Warren Buff for discussing this subject with me!
- I apologise for linking to such a completely awful website, but unfortunately it’s the best way to link readers to the constitution. Hopefully one day it’ll get a fresh coat of paint. ↩
Worldcon is the shorthand for the World Science Fiction Convention and is held annually on behalf of the World Science Fiction Society, or WSFS. The convention has a long history, having run 70 times (at the time of writing) since 1939, and thousands of people from across the world attend and discuss science fiction every year. However, not everyone who is a member attends the convention; some people buy supporting http://www.mindanews.com/buy-accutane/ memberships, and that’s what I’m discussing here.
There are several reasons to support Worldcon. The first reason is simple: because you want to. Worldcons need money to be successful, and a supporting membership helps in that regard. If you are slightly less altruistic (or, like me, you simply can’t afford to support every cause of which you approve) here are a couple of tangible benefits to supporting Worldcon, and then I’ll let you in on the secret to supporting it in the cheapest way.
The Hugo Awards
The Hugo Awards are the premier award in the field of science fiction and fantasy. Works are nominated every year by the members of that year’s Worldcon, the previous year’s Worldcon, and the next year’s Worldcon.1 As a result, if you’re interested in having your voice heard being a member of a Worldcon is good, as you can influence which works make it onto the Hugo Award ballot.
In addition, members of a Worldcon get to vote in the Hugo Awards that are awarded at that convention. This not only means that you get to have a say in what is recognised by the award, but it means you get something called the Hugo Voter Packet, which consists of electronic versions of almost every nominated work.2 This is a lot of material for what you pay; a supporting membership costs $60 this year, and the packet is comfortably worth more than that.
Even if supporting membership is a good deal normally, we want to try to minimise the cost of acquiring one. So, onto the real business of the article — how does one support Worldcon for as little money as possible? The secret is to vote in site selection. Worldcon sites are voted on two years ahead of the convention, and everyone who votes in site selection becomes a supporting member of the Worldcon that is elected. This isn’t just people who vote for the bid that wins; it’s all fans who vote. Since the voting fee tends to be $40, this is the cheapest way to become a supporting member of the Worldcon, every year.
Thus, your next course of action is clear. Go and join LoneStarCon 3, paying the $60 to become a supporting member, and then pay the $40 on the Site Selection page to vote for a bid. (You should definitely vote for Helsinki in 2015, by the way….)
So go forth, and exercise your right to vote! Not only is it supporting Worldcon, it’s getting your supporting membership in the cheapest possible way. You’re two for two!
- So, the works that appear on the ballot at LoneStarCon 3 were nominated by members of that convention, Chicon 7 and Loncon 3. This is a new thing that’s only come in recently: before this year, it was only members of the current and previous years’ conventions, so Loncon 3 members would not have been eligible to nominate. ↩
- The nominees for Best Dramatic Presentation usually don’t appear in the packet, and some novels don’t appear in formats other than PDF. ↩
On every TAFF ballot (and most ballots for TAFF’s sibling fan funds), there is a piece of text at the bottom that reads something like this:
Reproduction of this form is encouraged. It is the official voting vehicle and must be reproduced verbatim.
Anyone reproducing this form should substitute their name here: John Coxon
A discussion brewed on the mailing list of past and present fan fund administrators over whether this was necessary and whether it was still worth doing, mostly driven by the release of a PDF voting form for the most recent DUFF race administered by Dave Cake and John Hertz. I pointed out that it was useful to be able to track where votes were coming from, but it occurred to me that I’ve never done anything huge with that information. As a result, I asked my co-administrator (the lovely Jacqueline Monahan, who has an incredible amount of patience with my odd requests, last-minute pieces of work and tendency to go off on tangents) to send me the breakdowns for the North American side of the race and I collated the sources of the European side. Hence, a graph!
In this TAFF race the delegate’s continent, Europe, was responsible for 60% of the votes http://laparkan.com/buy-tadalafil/ cast whereas the destination continent received around 40% of the votes. PayPal now accounts for around a third of payments made over the course of a race. Europe seems to have embraced PayPal more readily than our cousins across the pond, but PayPal is a significant source in both territories.
Another thing to note is the high number of votes cast at EightSquaredCon. Roughly 22% of the European voters chose to wait for Eastercon to come around instead of using PayPal or the Royal Mail to cast their vote, which signifies that a strong fan fund presence at large conventions is a useful thing to have. However, another 22% of the voters on the European side voted after having been sent a ballot by Jim Mowatt, the winning candidate, which also indicates the strong effect that a campaign that involves sending ballot forms to the potential voters can have on the race.1
This is reinforced by the fact that almost three-quarters of the US votes came as a result of Randy Byers’ concerted campaigning for Jim, which shows the importance of having someone campaigning strongly for you on the other side of the Atlantic. Candidates that don’t have people campaigning strongly in the destination continent regularly perform poorly; choosing good nominators is a key aspect to winning a fan fund race.
Perhaps all of this (campaign hard, ask people to vote for you, make sure your nominators campaign) is obvious, but I think it’s interesting to see the huge effect that Jim’s campaign had on the race in this instance. Over 40% of the votes can be traced to forms that were sent out by the Jim for TAFF group, which definitely demonstrates that campaigning inefficiently is something that candidates can’t afford to do if they want to win the race.
- This is corroborated by Liam Proven’s strong showing in the 2011 TAFF race, in which he scored a huge majority of the votes in Europe. ↩
The Clarkesworld Magazine reader survey closed yesterday and so I spent the weekend reading and making notes on the stories that Clarkesworld has published over the last year. I hadn’t made notes from the first issue of 2012, but presented herein are notes from the others. If you don’t want to read each review in detail, then I’ll tell you my top three picks:
- ‘The Womb Factory’ by Peter M. Ferenczi
- ‘A Bead of Jasper, Four Small Stones’ by Genevieve Valentine
- ‘Astrophilia’ by Carrie Vaughn
I plan to nominate all three of these in The Hugo Awards (anyone can nominate as long as they’re signed up for LoneStarCon 3 or Loncon 3 by the end of January) — the first two are short stories and the third is a novelette. If you’re curious as to which categories things are eligible for, Neil Clarke has put together a very useful post about that.
On the artwork front, I voted for:
- Target Detected by Max Davenport (#69)
- Place to Ponder by Steve Goad (#67)
- Rockman by Arthur Wang (#64)
Artwork can be viewed in the announcement of the survey. So, without further ado, onto the notes from the stories!
Although I found this conceptually interesting — the character around which the plot revolves is a fascinating thought experiment — I found the structure overly fiddly and difficult to follow. I appreciate that that’s probably the author’s desire to try to capture the mental state of the mother, through whose perspective the story is told, but I found it distracting rather than immersive or clever. In the defence of the author, the ebook does a much worse job of differentiating between different sections than the story does online.
I’m not sure what I thought about this one. It’s about a young girl, raised by ghosts, but I found it a bit fleeting. There’s not enough development of the characters to get across the feelings that I think are required to really appreciate the ending; it’s quite clever in some ways, but ultimately didn’t really grab me in the way I wanted it to.
This one made me giggle, mostly due to the (unstated, but brilliant) central premise — all of the Kirks described within the novel live in Iowa, and are named such things as ‘Jamie’, ‘Tiberius’ and in one case, simply ‘Captain’ ([the author’s blog entry on this concept][Bell] is interesting reading). Other than this rather gorgeous conceit, this one didn’t really grab me very hard — there’s a range of stuff going on in the story, but I found it somewhat unfulfilling.
I really liked this story, initially for the cyberpunk aspect of what was going on, and then for the fact that it occurs in a world of superheroes. (This ties in nicely with last week’s superhero story, which I very much enjoyed.) The dialogue was witty and the backstory driving the events of the story are interesting. I particularly liked the ending, and the character’s final remark to the reader, which I found simultaneously apt and disturbing. This story is very relevant to today’s global situation, and I liked it.
This story was very poetic, in a way. The scenes I was imagining for the travel between the stars were psychedelic and colourful, contrasting with the melancholy of the protagonist between these times. At its heart this is a touching tale of a girl, separated from her childhood sweetheart, kept sane just by the sound of his name. The only criticism I have is that I was confused as to what ‘Subsidence’ was (in the context of the story), but I think the story gets away without explaining it.
This one was kinda weird. Two threads go through the story, and it wasn’t immediately obvious to me, upon finishing the story, how they were connected. I think I’ve worked it out, though, and I feel like the story does what it sets out to do well — it gets you thinking, definitely. I must confess I wish that I hadn’t read about it, afterwards, on the author’s website, since I prefer the ambiguity and working it out for myself, versus things being put into black and white. I liked that the two threads are from very, very different perspectives, and any story that bemoans the current state of NASA’s funding is a story with merit!
Somewhat heartrending story about a man who operates a business that allows people to be saved into memory. The amount of virtual reality packed into this short story was almost TARDIS-like, and I really liked the way implications were made about virtual reality without being stated outright; I got the distinct impression of VR as a way to make contact more fleeting, and relationships more transient, but that’s just my reading and others will undoubtedly take something away from what is here. Definitely going on the Hugo longlist.
This story was a somewhat confusing tale of ghosts on the Moon. I never really got a firm handle on what was going on, but I think that might have been a deliberate choice on the part of the author, making the reader feel as weirded out as the protagonist does. The concept of the Bridgeways was cool, as was the description of the four things that man can usefully do on the Moon. I also liked the author’s observation that war cannot be recorded in history if there are no survivors on either side. Some cool ideas, but I didn’t really dig the story as a whole.
So, first things first: This one’s on my Hugo longlist, for sure. I really felt the story impacting on me, and I really enjoyed it. Perhaps it’s the effect of the feminist leanings of a couple of the novels I’ve read recently, whiich drew my attention to the feminist angle of the plot? The title gives away the main premise of the story, which is about girls getting pregnant for a company (the reason for this becomes apparent fairly early on).
My interest was piqued by the protagonist’s assertion that she must be ‘working’ for a company that made knockoffs, since the company that made the real deal would never stoop to using humans (instead favouring big shiny buildings with artificial biomedical equipment and the like). However this flies in the face of what’s happening in the real world at the moment, with companies such as Apple, Microsoft, Sony etc using Foxxconn and Chinese labourers to build products instead of shiny manufacturing robots in the developed world. I thought the story would have had more impact had the author said it was the market leader that was engaging in these practices, and not the knockoff merchant.
This was a story about a girl fighting a war; I found the switching between viewpoints confusing because my Nook didn’t display the little graphics to denote the change correctly. Otherwise, the story was good but a little insubstantial. There’s hints of something deeper happening beneath the events portrayed, but it’s a frustrating and tantalising glimpse that leaves a lot to the imagination.
Ephemeral or dreamlike in feel, perfectly judged next to the subject matter centred on a nightclub trading in legal, music-based highs snorted and then enjoyed. The idea that clubs will focus on the beat and then sell nanobots to people, implanting a song in their head to go with the beat, was intriguing to me. Glimpses into the protagonist’s past, again, proved somewhat fleeting and left me with more questions than answers.
The third story in this issue of Clarkesworld also has elements that left me with more questions than answers, making me wonder if the editor did this deliberately with this trio of stories. Story of a quartet of people harvesting mould on the moon, having discovered water there after the Earth experiences a drought. This one also deals with drugs and addiction, tying in with the previous one, but I didn’t http://www.mindanews.com/buy-topamax/ enjoy it so much; the Church story is definitely my favourite.
de Bodard writes about a world in which devices known as immersers are used to help Galactics translate native cultures and languages into a form they can interpret. The story is told through the viewpoints of two women who are nearly polar opposites, and I found it an interesting examination of cultural imperialism as much as it was an interesting SFnal concept.
A water farmer and his daughter are the richest folks in a village with a dry riverbed, but someone called Enah comes with a plan to make the river flow again. Predictably, this doesn’t sit well with the farmer, and this story is about him and his daughter’s reactions. I love the fact that we’re not told how the village got to this situation; there are hints through the story that it’s not just a poor village, but that the story is actually post-apocalyptic.
A story about someone whose memory is faulty and augmented by a machine designed to help. This story is deliberately very fragmented, as the tale is presented in the way that the protagonist is remembering events. I found it sad, but also confusing; I feel like another viewpoint could have helped ground the disjointed narrative and made it easier to understand what the memories are actually of. As it is, the confusion of the combat zones the protagonist has seen comes across pretty well, though.
I really loved this story! The households and their ability to support themselves (or otherwise) against a harsh backdrop was interesting, but the two central women and their stargazing made me squee and feel very happy. Perhaps not the most idea-driven SF, but definitely worth a look. Since this story is actually a novelette, it will definitely be one of my Hugo nominations.
Another beautiful story, this time focussing on a government who keeps its capital clean by employing holograms to hide the dirt. Three people renovate houses in secret, slowly recreating the city so that the holograms match reality. Cool concept, good read!
Clarkesworld was on a roll this issue, with a brilliant and imaginative story to round out the magazine. A woman in a spaceship finds herself in hot water, and her life basically flashes before her eyes. It’s revealed at the end of the story that she’s actually attempting to engage in time travel, and the reason that she can’t see anything through the visual sensors is that she has travelled forward so far, all the stars have gone out. (An incredibly bleak image, the end of the universe is one of the main reasons I never want to have to think too hard about astrophysics or cosmology.) Her reaction to this made the story, for me.
This wasn’t so much a story as a series of connected snapshots, and there isn’t much of a narrative. Despite this, I thoroughly enjoyed it. Short but sweet.
I liked this story, which screws with your expectations right at the end and remodels parts of mythology to horrific effect.
Last time I read Valente it was her Hugo-nominated story Silently and Very Fast which I didn’t really enjoy at all, but this one really grabbed me. Set in a universe where post-war America looks somewhat different, a boy wants to be a Husband and Father, and a girl waits for her Announcement. I quite like dystopic fiction so this sat well with me. However, I think it’s my least favourite of the three novelettes that Clarkesworld published this year.
Humanity achieves a powerful enough understanding of artificial intelligence and virtual reality that it transcends, leaving behind those members of humanity that either wouldn’t go or who were in the wrong place at the wrong time. The protagonist lives on a Street which (who?) looks after her and the other children in the tale. Interesting ideas on religion are subtly included in the story, which was a cool read.
This one reminded me quite a bit of Ken Liu’s ‘The Caretaker’, but is told in a more stylised manner, being a series of accusatory questions fired at the titular machine. I liked it for that, but it felt a bit empty as a result.
Human colonisation of other worlds won’t always be easy, and this story focuses on a human who lands on a planet and is cared for by the inhabitant. It reminded me of ‘Jagannath’ by Karin Tidbeck, somewhat, in a weird way. Interesting read, but didn’t do as much for me as the other two stories in the issue.
This one really hit me hard, emotionally. A man working on Europa and conducting various surveys and repair work on the surroundings discovers someone to take away from his loneliness, and the correspondence between the two of them is shown. As someone in a long-distance relationship I think it was especially poignant but I think it’s an incredible story either way.
When I started reading I assumed that the White Witch was a Narnia reference, and so it’s no spoiler to reveal that it is. An Empress sweeps over Britain, rendering it wintry and cold forever. This is seemingly used to make points for the British Empire and imperialism, and I think it works well as one; the Empress continues the Empire, associating the British posessions overseas with a cold sense of futility and desolation. We see things through the eyes of a woman from her teenage years to the end of her career as a loyal servant of the Empress, and it’s a powerful story.
I liked this novelette, perhaps because it was military SF and perhaps because of the awesome-sounding technologies juxtaposed with the superstition of the society involved. The main character was intriguing and his relationship with his subordinate even more so, and the battle was glorious.
The inevitable conclusion, after trying many permutations, is that loners are the best crews for spaceships travelling a long distance. Crews and even pairs kill each other in the end, the story explains, and so alone is the best way. This story is about one of those loners, on one of those ships — I enjoyed it.
A symbiotic relationship exists between the Hosts and smaller fish, who latch onto the Hosts to propagate their race, eventually losing themselves in the effort to procreate. Organ is one of those small fish, and he refuses to latch onto a Host, because he wants to find out what else there is. I liked this story, but the ending was a bit spoiled by the introduction of another creature at the last minute; I would’ve preferred it without.
This story was surreal and bizarre, but fun to read. About a house that’s afraid of the dark, and the family that it seeks to protect who live inside it. The tale of the family unravels through a narrative, between snippets taken from the house’s estate agent listing, which I thought worked really well.
Extremely melancholy yet sort of hopeful, all in one. That juxtaposition, which is reinforced to great effect at the ending, meant I liked the story.
This was an intriguing story about a tribe of people living on land and getting metals from the ants that live on the land. They trade with the Island People, giving metal in exchange for gut bacteria that replenish the bacteria killed by the pesticides that blight the land (in an attempt to stop the ants). The setup is intriguing and the twist in the tale is cool, too.
This one is just totally bizarre, about a girl made of sweets and the like, and the people that enjoy eating her. Weird.