Archive for the ‘awards’ Category
So, as promised, let’s turn to the nominees for this year’s Hugo Awards. Lots has already been said and I’ve no wish to repeat it but here are some good pieces which summarise the issues. The upshot is that this year – as last year – I am going to use No Award a lot but unusually lots of other people might join me. This is why I don’t think the Sad/Rabid Puppies have killed the Hugos; it is easy to influence the nominations but hard to influence the vote as we saw last year with Vox Day placing below No Award. The effect will be massively multiplied this year and after a couple of fruitless attempts, I think the Puppies will just get bored. The question then is how do we get through those couple of attempts with our sanity intact and some works that aren’t irredeemable on the shortlist. To that end I was suggest everyone reads the excellent Plokta proposal:
The problem with the puppy slates is not that they’ve got stuff on the ballot. They’re members of the Worldcon, and they’re entitled to have the stuff they nominated on the ballot, regardless of their decision processes in making their choices. The problem is that they have kept off the ballot some other stuff that most voters would probably prefer to vote for. So what we should be doing is preventing a slate from forcing stuff off the ballot, not from getting stuff on the ballot. The voters can then use their alternative vote preferences to take care of the slate, as happened last year when the slate failed to completely dominate any categories.
I really hope something comes of this but, to be honest, weathering the Puppy storm is the easy bit. The harder part is having a conversation about how we, collectively, nominate works for the Hugos.
Honestly, after last year I never wanted to write about eligibility posts again. It was an important piece and I’m glad I wrote it (and that the editors of Speculative Fiction 2014 are reprinting it, despite disagreeing with it) but the discussion around it was so polarised and productive as to be draining. As I said when last year’s shortlists were announced, I do think there is a connection between author’s publishing their eligibility and the rise of nomination slates but I had no intention of being dragged into it all again this year, an intention only strengthen by seeing it play out again in exactly the same way. However, at the same time, I’ve been increasingly doing my own lobbying as well as mulling over Abigail Nussbaum’s increasingly militant line on awards recommendations:
Last year when the nominees were announced there were several attempts to distinguish between “good” and “bad” campaigning–to argue, for example, that Larry Correia’s Sad Puppies ballot (which gave us Vox Day, Hugo nominee), and the campaign to get all fourteen Wheel of Time novels nominated for Best Novel, were substantively different from, say, my posting my Hugo recommendations on this blog, or John Scalzi recommending me for the Best Fan Writer Hugo. I don’t believe that’s true.
I disagree with Nussbaum – I think there is a substantive difference – but I also think there should be more discussion of these issues. Recognising that this might be difficult, I’d like to propose a framework for this discussion. I’m not saying that this framework is right or definitive but I do hope it is at least helpful. First of all, I think there are three axes to consider: someone’s authority, the extent to which they direct others and their own self-interest. Secondly, the range of each axis is quite large:
1 – Some random person on the internet
2 – Someone with a social media network including Hugo voters
3 – Someone with a large social media network including Hugo voters or an author
4 – An author with a large following
5 – A superstar author
1 – Listing your nominations without comment
2 – Recommending multiple works to consider or posting your own eligibility
3 – Recommending specific works to nominate
4 – Actively campaigning for specific works
5 – Actively campaigning for a full slate
1 – No relationship with the person you recommend
2 – Acquaintance, colleague or part of social network
3 – Friend
4 – Yourself
5 – Yourself and your friends
Finally, the way in which the three interact means there is likely to be a large grey area in the middle. I’m going to suggest scoring six or less counts as ‘good’ behaviour and scoring 12 or more counts as ‘bad’ behaviour with everything in the middle up for discussion. So let’s consider two baseline case:
But what about less clear cases? As linked above, I used a BSFA Review editorial last year to encourage people to start thinking about their Hugo nominations as well as discussion some of the things I would be nominating. My strongest recommendation was for the Best Graphic Story category: “But if I could compel you to go out and read one piece of fiction it would be Sex Criminals by Matt Fraction and Chip Zdarsky.” If I’d posted this here my authority would be a 2, in a BSFA publication it is probably 3. I’d suggest my direction is also a 3. Compare this to George RR Martin’s recommendation of Laura J Mixon for Best Fan Writer: “So I’m nominating Mixon for Best Fan Writer, and I urge you to do the same.” Not only is his direction stronger, his authority is several orders of magnitude bigger.
As it turns out, both our picks made the shortlist. It is possible Mixon only made it because a member of the Sad/Rabid Puppy slate declined his nomination but it seems likely that Martin’s intervention had some effect whereas I’m pretty sure my own effect was negligible. But we’ve no way of knowing. Likewise, it seems likely that John Scalzi’s recommendations for Best Fan Writer last year had some effect: “Abigail Nussbaum is another excellent candidate for a win, in my opinion… These are just four people off the top of my head; there are many more.” However, the direction is even weaker than mine and spread across multiple candidates. I’d also suggest his authority is weaker than Martin’s but this is a good example of how my methodology does a good job of making the highly subjective seem more objective. Nonetheless, I do think this helps expose that there are different shades of grey here. Which finally brings us to eligibility posts. Here I think the picture for Scalzi is very different and, indeed, that is one of the reasons he has been so keen to use his platform to promote others. But, of course, most authors don’t have this platform.
So what does this all mean? Not much; re-label the points on the axes or change the shade of the radar charts and suddenly says something very different. This is very much one perspective. But I hope it does show that there is a continuum of behaviour here that we are all part of and that is it worth talking about the way we behave as a community since, after all, the Hugos are community awards.
- Europe In Autumn by Dave Hutchinson – 1/2
- Station Eleven by Emily St John Mandel – 3/1
- The First Fifteen Lives Of Harry August by Claire North – 3/1
- Memory Of Water by Emmi Itäranta – 6/1
- The Girl With All The Gifts by M.R. Carey – 9/1
- The Book Of Strange New Things by Michel Faber – 18/1
Incidentally, I reckon this is the best shortlist since 2011.
If you are a member of the BSFA, you have until 1 April to vote in the BSFA Awards. I had hoped to write about the shortlists but, as is increasingly common these days, I’ve run out of time. So instead I’ll briefly follow up my thoughts on nominating for the Non-Fiction Award.
The first thing to say is that I’m very pleased ‘The State Of British SF’ has been shortlisted. This was very much a team effort but it is also the first time I’ve ever been nominated for an award. Which is nice. (In other nice news, I’m also one of the contributors to Speculative Fiction 2014.)
Second, I’m also pleased to see one of my nominations, ‘Deep Forests And Manicured Gardens: A Look At Two New Short Fiction Magazines’, on the shortlist. Since nominating it, Ethan Robinson has posted this very interesting response to both ‘Deep Forests’ and ‘Short Fiction And The Feels’. I think Robinson’s piece is best when describing the latter because of the different political contexts of the two essays under discussion and the fact McCalmont only has a direct stake in one. I don’t think that he would disagree that he has a fondness for rhetoric and grandstanding; often, as in ‘Deep Forests’, I think that can be creative but in ‘The Feels’ it is more destructive. Or, as Robinson puts it: “In general the fact that oppression is something real and concrete that actual human beings have to deal with every moment of their lives, and not just an abstract “issue” for people unaffected by it to have fun opinions about, is something that McCalmont seems utterly unable to grasp.”
Finally, I’m a fan of Paul Kincaid’s criticism and had a quick skim of Call And Response before I sent it out for review so I’m pleased to see his collection on there too. But it does point to the continually problematic nature of the award. Not only do we have books competing with essays, here we have what is essentially a re-print collection competing with a brand new monograph. Meanwhile, Sibilant Fricative by Adam Roberts – which to my mind is essentially the same type of book as Kincaid’s – is ineligible. It is all a bit messy but then this award category always has been and my only solution I can come up with is to abolish it.
“With only ten days left before the Hugo nominating deadline, I’m cutting these posts a little close.” So begins Abigail Nussbaum’s draft ballot for the Hugo short fiction. I think it is safe to say she is miles ahead of me. However – unusually – I’ve read a clutch of very interesting novellas, all of which I would recommend voters check out.
I might manage to post some other short fiction recommendations here too but I thought I’d focus on the long ones first. If you need other suggestions, Nussbaum’s post is an excellent source of tips (even if she does have ‘The Husband Stitch’ by Carmen Maria Machado ‘bubbling under’, the big wronghead).
Since my post about my draft BSFA Awards nominations, two things have happened. First, Best Fan Writer-in-waiting Nina Allan has posted her recommendations for the BSFA Non-Fiction Award. Second, I’ve signed up with Pocket, got the plug-in for Chrome and activated En2Kindle to allow me to automatically save webpages to my Kindle. Since most of my free time is spent away from a computer and my phone is a little too small to make reading articles or stories a pleasure, I’m hopeful that this will allow me to better keep abreast of things rather than bookmarking them for later and never returning. I’ve started by whacking a load of Allan’s recommendations over, including the following pieces from Jonathan McCalmont:
- Short Fiction And The Feels
- ‘Deep Forests And Manicured Gardens: A Look At Two New Short Fiction Magazines’
- ‘A Perspective On Perspectives’
McCalmont should be another Best Fan Writer-in-waiting but I suspect he will be waiting in perpetuity. Over the course of these five posts, he makes a broad ranging assessment of the contemporary SF short fiction that mixes big, bold theorising with a close reading of individual stories. Allan notes that she “remains undecided as to how much of Jonathan’s argument I agree with – all mulchy middle ground, me – but I find much that interests me in his viewpoint, and the gutsiness of his writing always leaves me feeling liberated and inspired generally.” For me, it is not just his gutsiness but his ambition; I quite often disagree with his theories but this big picture approach, grounded but not mired in academic thought, is vanishingly rare.
In terms of the BSFA Awards, I do worry that his vote will be split. Like Allan, I think the three middle posts are essentially a single piece and the strongest individual part of the total argument. But I know Ian Sales in his nomination post went for ‘Short Fiction And The Feels’. Sales also rightly praises Allan’s own non-fiction and says nice things about ‘The State of British SF and Fantasy’, the Strange Horizons symposium both her and me contributed to. I was proud to be a part of it so I’m glad others found it worthwhile.
Speaking of Strange Horizons, I’ve just been commissioned for my first review under the new triumphivrate of editors who have taken over from Abigail Nussbaum (another Best Fan Writer-in-waiting but the one who probably won’t be waiting that long). It will be my first review in a while but hopefully this year I will be producing a bit more non-fiction as well as reading more.
We are half way through the month so it is worth reminding members of the British Science Fiction Association that nominations close for the BSFA Awards at the end of the month. This year they are crowd-sourcing suggestions and, as with the Hugos, I also thought I’d post my draft nominations here.
Best Novel was the easiest category for me this year as I’ve read a surprising amount of good, current fiction. Those who read my last BSFA Review editorial won’t be particularly surprised by my choices:
- The Race by Nina Allan
- Wolves by Simon Ings
- Southern Reach by Jeff Vandermeer
- Echopraxia by Peter Watts
As well as writing one of the best books of the year, Allan has also written a very helpful post covering her candidates for Best Non-Fiction. She starts with an epiphany:
What if every BSFA Awards voter (and Hugo voter) were to read just twenty pieces of new short fiction every year? Surely this would have at least some impact, not just upon individuals’ knowledge of the field but on their sense of investment in the awards process. Whether through random online reading (one of the most radical advancements in the field in recent years has been the increasing quality and availability of free short fiction online) or through the purchase of magazine subscriptions would be down to individual inclination and cash available, but I honestly do think the twenty-shorts-per-year formula would have a considerable effect on the discourse around short fiction. Why not try it and see?
I came to a similar conclusion last (you’ll have seen some of the results of that earlier) and I hope other voters do adopt this approach. Anyway, here are my three favourite stories from my own reading:
- Trading Rosemary by Octavia Cade
- ‘The Bonedrake’s Penance’ by Yoon Ha Lee
- Scale-Bright by Benjanun Sriduangkaew
I’m currently reading through Allan’s recommendations for the fourth slot. Posts like hers provide a vital service in trying to filter the vast about of work out there. Moving from words to Best Artwork, recommendation post are even more helpful as it so easy to quickly check out a large amount of different pieces of art online. Carl V Anderson has got pretty different taste to me but this post is a helpful taster of what is out there. So far I’ve been concentrating on book covers and my three favourites are:
- Wolves by Jeffrey Alan Love
- Voyage Of The Basilisk by Todd Lockwood
- Mirror Empire by Richard Anderson
My final slot goes to ‘The Wasp Factory’ by Tessa Farmer. Which leaves Best Non-Fiction. Despite the fact this is my field, it is often the category I struggle most with. But the single piece of criticism that has stayed with me the most this year is this:
1) Sarah Webb
2) Mandie Manzano
3) No Award
4) Spring Schoenhuth
5) Brad W. Foster
6) Steve Stiles
1) Julie Dillon
2) Fiona Staples
3) John Harris
4) No Award
5) Galen Dara
6) John Picacio
7) Daniel Dos Santos
Best Graphic Story
1) Saga, Volume 2 written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics)
2) “Time” by Randall Munroe (XKCD)
3) No Award
4) The Meathouse Man adapted from the story by George R.R. Martin and illustrated by Raya Golden (Jet City Comics)
5) Girl Genius, Volume 13: Agatha Heterodyne & The Sleeping City written by Phil and Kaja Foglio; art by Phil Foglio; colors by Cheyenne Wright (Airship Entertainment)
6) “The Girl Who Loved Doctor Who” written by Paul Cornell, illustrated by Jimmy Broxton (Doctor Who Special 2013, IDW)
On balance, probably more interesting than the fiction categories.