Category Archives: Science fiction & Fantasy

Lovecraft Country HBO series, based on the novel by Matt Ruff, begins Sunday, August 16th

I’m thrilled to announce that the Lovecraft Country tv show, based on the 2016 novel by my husband Matt Ruff, will begin airing on HBO and HBO Max on Sunday, August 16th.

The 10-episode first season was produced by showrunner Misha Green, Jordan Peele, and J.J. Abrams, and the amazing cast includes Jonathan Majors, Jurnee Smollett, Courtney B. Vance, Michael K. Williams, Aunjanue Ellis, Wunmi Mosaku, and Abbey Lee.

Watch the HBO trailer:

See reviews of the show on Rotten Tomatoes (100% fresh!). Rolling Stone called it “one of the best shows HBO has made in a long, long time.”

Read about Matt’s novel.

Matt Ruff’s Lovecraft Country

Today is publication day for Lovecraft Country, the new novel by my husband, Matt Ruff.

You can learn more about the book and read reviews and an excerpt here.

lc

If you’d like to attend one of Matt’s book events in Seattle, Portland, or Vancouver, you’ll find the details here. The launch event is tonight, February 16th, at 7pm at Elliott Bay Books, where Matt will be in conversation with Paul Constant from the Seattle Review of Books.

“But you love these stories!” Atticus said. “You love them as much as I do!”

“I do love them, George agreed. “But stories are like people, Atticus. Loving them doesn’t make them perfect. You try to cherish their virtues and overlook their flaws. The flaws are still there, though.”

“But you don’t get mad. Not like Pop does.”

“No, that’s true, I don’t get mad. Not at stories. They do disappoint me sometimes.” He looked at the shelves. “Sometimes, they stab me in the heart.”

I’ll be teaching a research workshop for Clarion West in May

I’ll be teaching a one-day Clarion West workshop with Louise Marley on Sunday, May 4th from 10am to 4pm in Seattle’s University District:

Fiction R&D: From Research to Ideas to Stories
Research is a creative process that can help writers with inspiration, storytelling, and worldbuilding. Lisa Gold will share practical advice on doing research and finding useful and unusual sources, and she’ll provide an annotated list of resources. Louise Marley will explore generating, refining, and developing ideas into stories. They’ll use a combination of lecture, discussion, brainstorming, and writing exercises.

Check out these other Clarion West one-day workshops:

  • Rachel Swirsky, Telling Old Stories in New Ways, April 6
  • Nicola Griffith, The Magic of Immersive Fiction, April 13

For more information or to register: http://www.clarionwest.org/workshops/oneday/fiction-rd-from-research-to-ideas-to-stories/

News about The Mirage paperback, the Queen Anne Book Company, and Clarion West

  • Matt Ruff‘s latest novel, The Mirage, will be published in trade paperback on February 12, 2013. (The hardcover and ebook editions were published in February 2012.) Matt will be doing some readings/signings in Seattle and Portland over the next few weeks.

mirageps

  • Queen Anne Books, the beloved independent bookstore that closed on Halloween, will soon be reincarnated in the same location as the Queen Anne Book Company. The new store, with new owner/managers and some of the booksellers from the old store, will hold its grand opening on March 1st. You can follow the Queen Anne Book Company on Twitter @queenannebookco or on Facebook.
  • March 1st is the deadline to apply to the Clarion and Clarion West writers workshops for science fiction and fantasy. The instructors this year include Neil Gaiman, Cory Doctorow, Elizabeth Hand, Kelly Link, Samuel R. Delany, Joe Hill, Nalo Hopkinson, and Karen Joy Fowler (see my previous blog post for the complete list and more information). Clarion West has just announced that Margo Lanagan will be teaching instead of Justina Robson.
  • Clarion West is offering a series of special one-day workshops in Seattle from February to May, taught by Molly Gloss, John Crowley, Mary Rosenblum, and Daryl Gregory. Each workshop is limited to only 14 students, so don’t wait to sign up.

UPDATE, 2/26/13: For more information about the Queen Anne Book Company’s grand-opening weekend (March 1st to 3rd) and their “Authors in the House” events, see this article from the Queen Anne View blog.

Neil Gaiman, Cory Doctorow, Elizabeth Hand, Samuel R. Delany, Kelly Link, Joe Hill, Karen Joy Fowler…

Two fantastic groups of writers will be teaching at the 2013 Clarion and Clarion West Writers Workshops for science fiction and fantasy.

Elizabeth Hand, Neil Gaiman, Joe Hill, Justina Robson, Ellen Datlow, and Samuel R. Delany will be teaching at Clarion West in Seattle from June 23 through August 2, 2013.

Andy Duncan, Nalo Hopkinson, Cory Doctorow, Robert Crais, Karen Joy Fowler, and Kelly Link will be teaching at Clarion at UC San Diego from June 23 through August 3, 2013.

The two workshops are each accepting applications through March 1, 2013. See their websites for instructions and more information.

Update, 2/5/13: Margo Lanagan will be teaching at Clarion West instead of Justina Robson.

 

Write science fiction and fantasy under the guidance of George R. R. Martin, Cassandra Clare, Chuck Palahniuk, Ted Chiang…

The 2012 Clarion and Clarion West Writers Workshops for science fiction and fantasy have each lined up an amazing group of writers as teachers.

Clarion West will be held in Seattle from June 17 through July 27, and the instructors are Mary Rosenblum, Hiromi Goto, George R. R. Martin, Connie Willis, Kelly Link & Gavin Grant, and Chuck Palahniuk.

Clarion will be held in San Diego from June 24 through August 4th, and the instructors are Jeffrey Ford, Marjorie Liu, Ted Chiang, Walter Jon Williams, Holly Black, and Cassandra Clare.

The two workshops are each accepting applications now through March 1st.  See their individual websites for more information and instructions.

The Mongoliad begins…

The Mongoliad launched this morning. If you have no idea what I’m talking about, see my earlier post, “The Mongoliad, a “sekrit project” from Neal Stephenson and friends,” or these articles from Fast Company or VentureBeat.

You can explore The Mongoliad website and read the free preview content, but you’ll need a subscription to read the novel, which will be published in serialized weekly chapters over the course of a year. (The first chapter of the story was released today.) Subscription rates start at $5.99 for six months or $9.99 for one year. Subscribers will also have access to the Forum and other goodies (art, video, music, etc.) as they are released.

If you’d prefer to read The Mongoliad on your iPad, iPhone, or iPod Touch, the apps will be available soon (once they receive the Apple stamp of approval). Apps for other devices will follow in time.

And yes, Matt and I are minor members of The Cabal, but you won’t get any spoilers out of us.

Update: New chapters of the serialized novel will be posted every Wednesday. (The first chapter was posted on September 1st, and the second chapter will be posted on September 8th.)

New Update, 10/31/10: The Mongoliad apps for iPad and iPhone are now available. See my new post for more information.

And now for something completely different…

Today is day 7 of Amazon’s boycott of Macmillan print books and ebooks. John Scalzi summarizes the current state of affairs in a very entertaining way in his new blog post, “A Quick Interview of Me, By Me, To Catch Up With Everything Amazon.” And Matt and I spotted this today in a full-page ad in the New York Times for Atul Gawande’s The Checklist Manifesto:  “Available at booksellers everywhere except Amazon.”

I realize that not all of my readers are as obsessed with this subject as I am, so I will give you a break and blog about some other things today:

Google Book Settlement

The Google Book Settlement fairness hearing will finally be held on February 18th, and the deadline to opt out or object passed on January 28th. James Grimmelmann has been posting lots of great links about the GBS on his Laboratorium blog:

Clarion and Clarion West Writers Workshop deadlines approaching

Applications are due by March 1st for the 2010 Clarion West Writers Workshop in Seattle, “an intensive six-week workshop for writers preparing for professional careers in science fiction and fantasy.” The 2010 workshop will run from June 20th to July 30th, and the instructors are Michael Bishop, Maureen McHugh, Nnedi Okorafor, Graham Joyce, Ellen Datlow, and Ian McDonald. See the Clarion West website for more information.

Also due by March 1st are applications for the 2010 Clarion Writers’ Workshop at UC San Diego, which runs from June 27th to August 7th. The 2010 instructors are Delia Sherman, George R.R. Martin, Dale Bailey, Samuel R. Delany, Jeff VanderMeer, and Ann VanderMeer.

Library budget cuts

Small Beer Press

Kelly Link and Gavin Grant’s Small Beer Press will bring back into print two books by writers Matt and I really like– Ted Chiang’s Stories of Your Life in October 2010, and Kelley Eskridge’s Solitaire in January 2011. They are joining a fine group of other writers published by Small Beer Press, including John Crowley, Elizabeth Hand, Geoff Ryman, Sean Stewart, and Kelly Link, among others.

And finally…

Introducing the iCodex:

Today, St. Stephen of Jobs announced the newest creation from the monks at Abbey Apple: the iCodex, which he believes will revolutionize the way people work and play…

With the iCodex, people can now store multiple items in one, easy-to-use package. A user could, for example, enjoy both cooking recipes and psalms, or mappa mundi and instructions on marital relations. Since the iCodex’s pages are bound together in an easy-to-turn format, things stored at the end of an iCodex are as easy to access as the beginning…

Excitement for the product could be felt all over the literate world. At the Library of Google, scribes were busy transferring hundreds of years of scrolls onto codices. “We hope to copy the entire history of human writing into codex form within the next few decades,” said Larry the Page, Google’s founder….

Go read the whole thing on Tom Elrod’s Wordism blog.

A dignity of dragons, a lunacy of werewolves, a craving of golems, a tizzy of fairies, a vexation of zombies…

Thanks to this i09 post, I discovered David Malki’s fantastic index of “Supernatural Collective Nouns”:

2009-10-30-566nouns

(Click on the image to make it larger.)

This comic (#566) is available for purchase on Malki’s Wondermark website as a print or a poster.

Time-traveling through the English language with the Historical Thesaurus of the Oxford English Dictionary

Matt and I recently had the opportunity to spend some time browsing through the Historical Thesaurus of the Oxford English Dictionary, which has just been published by Oxford University Press.

I began by reading the introduction. He began by looking up curse words. Once he had satisfied his curiosity about when certain very popular profanities first entered the English language, he turned his attention to the more unusual words within the inferior persons, as abused subcategory that have fallen out of use, such as windfucker (1602 to 1616), hog-rubber (1614 to 1621), chuff-cat (1653), shit-sack (1769 to 1785), and son of a sea-cook (1806 to 1977). This led to an animated discussion of the common themes that connected many of the words—comparisons to animals, sex with relatives or objects, and the inability to control one’s bowels.

That’s what happens when you put the Historical Thesaurus of the Oxford English Dictionary within reach of a writer.

Browsing this work feels strangely like time-travel. All the words from Old English to 2003—obsolete and current, including slang and dialect—have been extracted from the Oxford English Dictionary and organized by their meanings and dates of use. This places each word within its historical context, revealing how ideas and meanings emerged and the different ways they’ve been expressed through time.

It took forty-four years to bring the HTOED to publication, overcoming what the editors politely describe as “a series of intellectual, financial, and domestic challenges.” About 800,000 meanings from the OED were transcribed onto slips of paper and organized into a unique classification system with over 236,000 categories and subcategories. A fire in 1978 would have destroyed a decade of work but for the fact that the paper slips were stored in a metal filing cabinet. They could have finished making slips by 1980, but the decision was made to add new material from the second edition of the OED and the supplements. Computers were eventually used to enter, store, and retrieve data, but much of the work continued to be done by hand.

The result is the world’s largest thesaurus, nearly 4000 pages of small type in two big volumes weighing fifteen pounds, with a slipcase and folding chart of the top levels of the classification system. I like print references because browsing can lead to serendipitous discoveries, but these books can be awkward to use. It’s especially frustrating when looking up a word with multiple meanings, as the index may list dozens of identification numbers, which means lots of page flipping. No, it’s not available online or on CD, though that may eventually change. I’d like to see the powers-that-be at Oxford University Press quickly add the HTOED to the online OED so both works can be used together and fully cross-referenced and searched.

The classification system of the HTOED is mind-bogglingly complex, forming a hierarchy of meaning from the general to the specific. At the highest level are the three main sections—the external world, the mental world, and the social world—which divide into 26 major categories, such as the earth, life, emotion, society, morality, faith, armed hostility, and communication. These branch into more detailed categories like food, clothing, people, animals, transport, love, moral evil, and sexual relations. More specific categories and subcategories lead to the synonyms and related words, which are organized by part of speech and listed chronologically with the date of the first recorded use in English and, for obsolete words, the last recorded use. (I recommend reading the “guide to the use of the thesaurus” to get your bearings.)

Each level in this hierarchy of meaning is assigned a two-digit number, which when combined creates identification numbers for every word in the thesaurus. Some words have many identification numbers because they have numerous meanings or have changed their meanings over time and thus appear in different locations within the thesaurus.

For example, in the alphabetical index, the first identification number for the noun serendipity, one of my favorite words, is 01.05.05.10.02.01|10.01, locating it in the thesaurus within these nested categories and subcategories:

01                                                         the external world
01.05                                                  existence in time and space
01.05.05                                           action/operation
01.05.05.10                                    endeavour
01.05.05.10.02                             searching/seeking
01.05.05.10.02.01 (n.)              finding/discovery (noun)
01.05.05.10.02.01|10               accidentally (subcategory)
01.05.05.10.02.01|10.01        faculty of making happy discoveries by chance

Here you’ll find that the noun serendipity was first cited in 1754. After the finding/discovery (noun) category is the finding/discovery (adjective) category, in which serendipitous (01.05.05.10.02.01|03) dates from 1958.

The HTOED will clearly be important to the study of the English language, but it also could contribute to other subjects, especially history, literature, and culture. The descriptions of life and the earth over centuries are like crash courses in the history of science and medicine. Cultural historians will look for clues in our language to our attitudes about gender, race, and class, as with the words used to describe women based on animals (mare, hen, cow, heifer, bird) or clothing (skirt, smock, petticoat). Advancements in technology are reflected in subjects like travel, tools, telecommunications, and computing. Shakespeare scholars will be able to compare the words in use during his lifetime and argue about the reasons for his word choices. Even a category like clothing can reveal shifts in morality, as when underwear became unmentionables in 1823.

I believe the HTOED could be a rich source of inspiration and world-building for writers. Historical novelists could gain insight into the past and how people lived, what they knew and believed, and how they described their own world. And they’ll know whether the words their characters are speaking were actually in use at the time. (Elizabethans would not have called a packed meal a picnic, as it was first cited in 1748.)  Fantasy writers may unearth ideas in forgotten names or descriptions of supernatural beings and mythical creatures. Poets can reintroduce lyrical and imaginative words that have fallen out of use, such as candel (Old English to 1634), luminair (1456 to 1560), or streamer (1513 to 1647), all of which once described heavenly bodies. Eclectic writers like my husband who have a strong love of word-play and enjoy collecting unusual bits of knowledge will find it addictive.

Let’s say you’d like to take advantage of the current craze for vampires or literary monster mash-ups like Pride and Prejudice and Zombies. The HTOED can tell you when different monsters first entered our nightmares and what we called them at distinct points in time. Follow the hierarchy of categories from the external world to the supernatural to supernatural being/spirit to malignant monster (noun). Here you’ll find that the word vampyre was first cited in 1734, followed by vampire in 1796. Though vampire is still in use today, the last recorded OED citation for vampyre was in 1847. Referring to vampires as undead didn’t begin until 1897. Werewolves trace all the way back to the Old English werewulf, lycanthrope was first cited in 1813 and is still in use, but the more poetic turnskin entered the language in 1831 and exited forty years later. Oh, and zombie was first cited in 1819, two years after the death of Jane Austen.

The editors have included all those words that have been too controversial for some other dictionaries and thesauruses. Curse words, sexual slang, and offensive slurs for racial and sexual minorities appear dispassionately in their chronological place among their less inflammatory cousins. Reading certain entries may cause shock, disgust, or pain, but there is value in putting these powerful words in their historical context. If you are easily offended or prefer your works expurgated, consider yourself warned.

Priced at $395 (on sale at Amazon for $316), the HTOED will unfortunately be out of reach for many of the writers and word lovers who might appreciate it, so keep it mind if you are looking for a fabulous gift for your favorite logophile.

For more information, check out this OUP website for the HTOED and this OUP blog post with “fun facts and figures” about the work. Here’s the link to a sample page from the work at the OUP website.

UPDATE, 10/28/09: I received an email from Christian Kay, editor of the HTOED. There are indeed plans to eventually link the HTOED to the OED online and make it available to subscribers, but that could be a couple of years away. There are no plans for a CD version. So it looks like the books will be the only option for quite some time.

NEW UPDATE, 6/18/10: The Oxford English Dictionary Online will be relaunched in December 2010 and will include an integrated online edition of the Historical Thesaurus. See my blog post “Word lovers rejoice” for more information.

NEW UPDATE, 11/30/10: The new OED website has launched, fully integrating the online Oxford English Dictionary with the Historical Thesaurus. See my new blog post for more information.

Patricia Wrede’s list of worldbuilding questions

While browsing through the new SFWA (Science Fiction & Fantasy Writers of America) website, which launched this week, I discovered Patricia C. Wrede’s list of fantasy worldbuilding questions to help create believable imaginary settings. (The list is not new, just new to me.) I highly recommend it, especially since many of her questions would be useful for detailed worldbuilding in general, regardless of genre.

SFWA’s Information Center contains articles for writers grouped into categories: advice for new writers, contracts and copyrights, the craft of writing, and the business of writing. (There isn’t a lot of content in this section yet, but the SFWA blog noted it will take time to transfer material from the old site to the new.)

Another resource on the site is Writer Beware, containing “warnings about literary fraud and other schemes, scams, and pitfalls that target writers.”

For teachers, the site offers a science fiction Lessons Library (in partnership with AboutSF.com), containing course outlines and lesson plans, teaching tools, and reader’s guides.

“I am drawn to borderlands and to the people who inhabit them…”

The io9 website, in an article called “4 Authors We Wish Would Return to Science Fiction,” has interesting statements from Nicola Griffith, Karen Joy Fowler, Mary Doria Russell, and Samuel R. Delany about the role of genre in their writing. (I am a big fan of all three women and their books, but I confess I have not yet read anything by Mr. Delany.)

Here are some of the quotes I found particularly interesting.

Mary Doria Russell:

SF and historical fiction make similar demands on an author. They both require you to imagine as fully as possible a time and place that are not your own. In all my novels, there is an ironic and distanced narrator who knows a lot more than the characters about their past and future. And there is always an awareness of the contemporary limitations of technology and ideology, and of how those limitations affects lives…

[I]ntellectually, I am drawn to borderlands and to the people who inhabit them: marginal natives, newcomers, travelers, people who don’t fit and who therefore have an interestingly slanted view of the cultures they inhabit. Remember: I was an anthropologist long before I was a novelist. We are trained to seek out marginal natives; no one can give you a better perspective on aspects of culture that statistically normal people simply accept as, well, normal.

Admittedly: I have turned out to be kind of a genre slut. I will stand on the literary street corner and get into any genre that drives by and offers to take me to a good par-tay. And sometimes I don’t go home with the one who brung me to the dance…

So I guess what this all adds up to is: who gives a shit about labels? I write about what fascinates me, and I use whatever tools seem best suited to do the job at hand. What happens after that is marketing.

Karen Joy Fowler:

1) I don’t set out to write in any genre; that’s just not my working method. I start with whatever I have, some tiny incoherent image that I hope to make into a story. And then I take what I need to make that story work. Maybe what I need comes from science fiction, but maybe not. I won’t know until I write it.

2) I’m really interested in genre and draw a lot of energy from it. So even if the things I write aren’t, strictly speaking, genre piece, they all seem to be in conversation with genre in some way. (I like mysteries as much as I like sf, by the way.)

3) What I love most about science fiction is the short fiction. Almost all my short fiction spins around a science fictional idea even if the resulting story isn’t quite sf. Charles Brown of Locus told me once that I’m a science fiction writer because I think like a science fiction writer and I was enormously flattered and hope that’s true.

4) But even if it is, mystery writing with its emphasis on plot and sf writing with its emphasis on tech don’t really play to my strengths…

…I’m always writing for sf readers. Science fiction readers enjoy figuring things out and don’t mind being puzzled for long stretches. They read in a very active way. And that’s the way I read and those are the readers I’m trying to please…

Stan Robinson says we all live in a science fiction novel now and it’s clearly true. So I truly believe that science fiction is realism now and literary realism is a nostalgic literature about a place where we once lived, but no longer do.

Nicola Griffith:

I’m a native of sf. You can’t leave that kind of thing behind. Just as everyone I meet in the US knows I’m English, everyone who reads my work knows I’m a skiffy geek. It doesn’t matter how long I’ve been away; my English sf upbringing colours my accent, my attitude, my vocabulary. It’s who I am…

*****

These writers, like many of my favorites (including my husband), write across different genres so they can tell the stories they want to tell, in the way they want to tell them.

I remember there was a bit of controversy when Matt won the 2003 James Tiptree Jr. award (for works that explore gender in science fiction or fantasy) for Set This House in Order, as some people questioned whether the book was science fiction. Matt addressed this in his acceptance speech, first with a joke (“Is Set This House in Order science fiction? Or as Margaret Atwood might say: ‘Hey! Where’s the spaceship?'”), then with a detailed explanation of what he was trying to do with the book and why he believed that “though it may not be SF in the strictest sense, it is at least SFnal in its methods and its goals…”:

[The premise of the novel] lit up all the same enthusiasm circuits that a good science-fiction premise would have… I decided early on to write the book as a  “what if” novel: to simply accept certain premises as true, and focus my creative energy on exploring the implications of those premises. My goal was to tell an entertaining story that was believable and internally consistent. I’d take accuracy if and where I could get it, but the point was to provide food for thought, not definitive answers…

Another strategy, which I learned from science-fiction writers, is to write the speculative parts of the story in such a way that they remain intriguing even if the premises on which they are based ultimately turn out to be fantasy. As Ray Bradbury demonstrated with The Martian Chronicles, and as Mary Shelley demonstrated way, way back in the day with Frankenstein, the logic of dreams can remain compelling even after we have awakened….