I apologize for not keeping up with updates for the last few months. A combination of factors (work, lack of internet access at home, etc.) have conspired to keep me from my blogging duties.
However I came across this announcement and I knew I just needed to share:
Encyclopedia Of Science Fiction To Be Published Online, With Text Available Free
The third edition of the Encyclopedia of Science Fiction, the definitive reference work in the field, will be released online later this year by the newly-formed ESF, Ltd, in association with Victor Gollancz, the SF & Fantasy imprint of the Orion Publishing Group, whose support will enable the text to be available free to all users. This initial "beta" version, containing about three-quarters of the total projected content, will be unveiled in conjunction with Gollancz's celebrations of its 50th anniversary as a science fiction publisher.
The first edition of the Encylopedia, whose founder and general editor was Peter Nicholls, appeared in 1979, and contained over 700,000 words. A second edition, edited by John Clute and Peter Nicholls, appeared in 1993 and contained over 1.3 million words. Both editions won the Hugo Award from the World Science Fiction Convention, in addition to numerous other honours.
The beta version of the third edition will contain some 3 million words, including about 12,000 entries and well over 100,000 internal links. The entries cover every area of science fiction, including authors, illustrators, movies, music, games, and fanzines. The text will be completed, through monthly updates, by the end of 2012.
The third edition has been produced by editors John Clute and David Langford, Editor Emeritus Peter Nicholls, and Managing Editor Graham Sleight. Contributing Editors for the third edition include Mike Ashley on magazines, Paul Barnett on artists and illustrators, Jonathan Clements on all aspects of Japanese and Chinese SF, Nick Lowe on movies, Abigail Nussbaum on television, John Platt on comics, and Adam Roberts on music. During the Encyclopedia's development, the project has been supported by Clare Coney as Technical Editor, Roger Robinson as Research Editor, John Lifton-Zoline, and Pamela Lifton-Zoline. Robert Kirby of United Agents, The Bookseller's Literary Agent of the Year 2011, represents the Encyclopedia.
On behalf of Gollancz, Orion Deputy CEO and Group Publisher Malcolm Edwards commented: "We're delighted to have been able to facilitate the online publication of this monumental and definitive work – more than ever the single, reliable reference source which anyone interested in SF needs. As a contributing editor to that long-ago first edition, it's a particular pleasure to me to have been able to play a part in making this happen."
Anyone interested in signing up for the latest news on the project can do so at www.sf-encyclopedia.com. The Encyclopedia is also on Facebook at https://www.facebook.com/pages/Sf-Encyclopedia/138995776178949 and on Twitter at @SFEncyclopedia.
For general enquiries, please contact grahamsleight@gmail.com
For rights enquiries, please contact Charlotte Knee at United Agents, cknee@unitedagents.co.uk
For Gollancz enquiries, please contact jonathan.weir@orionbooks.co.uk
First of all, who knew there was an entire encyclopedia on Science Fiction? Is that awesome or what? I'll keep you all posted on how things go with the project.
Monday, July 11, 2011
Wednesday, May 11, 2011
Building a better person
Can becoming a better person make you a better writer? I sincerely hope so.Building character takes patience, discipline, introspection and independence of thought. I believe that these same behaviours and attitudes are also required to move a writer beyond mere talent.
Patience is the ability to wait for results that can only be had after a long difficult period of effort, and it is required if one wants to be a good writer and an effective person. Patience is essential to the craft of writing. It can take a long time for a character to emerge, for plotlines to come together and for a setting to take firm shape in one’s head. It also takes a lot of time to refine and polish a work to its highest quality. And it may take a long time – sometimes a lifetime – to find the right audience for one’s work. If a writer does not acquire the ability to absorb a great deal of trouble without losing self-control, when things cock up – as they inevitably will – they can easily give in to despair. The most successful people understand patience, they don’t lose hope or blow up or cave in, when things didn’t go according to plan.
Discipline is the acquired habit of expending energy, of forgoing lesser pleasures of the now for the greater good of the future. It is required to move forward in any endeavour. Studies show that children who can delay gratification, who can keep from eating the sweet in front of them if they know that by waiting they can get two more, are more successful. They get better grades in school, have more successful careers and healthier relationships. Discipline is also the bedrock of the craft of writing. It’s not easy to sit down in front of a blank screen every day, but if you don’t write, you can’t call yourself a writer. It’s really that simple.
Introspection is the ability to look inside oneself in order to understand one’s purpose and values. This is not easy, that is why most of us avoid it when we can. The risks of finding things we do not like are too great. However, the most well-rounded people are those who understand and accept themselves; those who are comfortable in their own skin. They know who they are and what they stand for, and it makes them stronger. The craft of writing also requires introspection. One has to be able to accurately map out one’s inner terrain so that it can be mined for stories and characters. Introspection taken too far can lead to brooding melancholia, but understanding one’s impulses is essential if one is to write good characters. Because how can you write others when you cannot write yourself?
Independence of thought, letting go of the fear of what others will think, is both the trickiest and the most important part of building character. It is the beginning of freedom. In Nigeria, our culture assigns an inordinate amount of value to material success -- even over ethical integrity. In many ways, it is less important how you made your money, only that you have it. But character requires that you put your values above the vagaries of other’s expectations. That you take the time to do your own thinking and come up with your own standards. There will be no shortage of people who will try to tell you what to do, what is important and who to be. The challenge of a successful character is blocking out those voices to find what is important to you, then marshalling the courage to do what you feel is right. Because the craft of writing is so rarely commercially successful, those who choose it as their primary profession, have to be prepared to walk against the tide of public opinion – especially in a culture as materialistic as our own. But every writer at some point, made the conscious decision to dedicate themselves to their craft. There is no other way.
I haven’t had internet access at home for the last month, and it gave me time to do a lot of thinking, though perhaps not a great deal of sustained thinking. Now, the rains have started and the world has been washed of its layers of dry season dust, and I’ve come to realize that seeking to develop good character will give me the perspective I need to put my craft at the forefront of my life. No more procrastinating on the important things. Understanding my values can come learning from the wisdom of the ancients, which means reading what they have passed down. More reading can only make one a better writer. Finally, freeing myself of the anxiety of other’s perceptions will allow me to submit my stories to journals and readers more often. I will now be able to hear the constructive feedback without the sound of my worrisome inner voice.
But it all begins with the willingness to do the hard work in the here and now. And while I don’t believe I will ever be able to wake up and declare my work is over, I do hope that as I get older, I will have given myself the tools to become a better, more competent person. Because having a good character is more important than anything else and is the ultimate arbiter of one’s success.
When I go, I want to be able to say that I made a difference in the lives of others. It’s really all that matters, in the end.
Thursday, April 21, 2011
The problem with patriarchy
I want to apologize for not posting as much as I should lately. My internet access has been a little limited over the last month. However, I have been doing some reading, some writing and generally expanding my brain. This post is based on a thought that popped into my head a few weeks ago in the course of my readings.
The problem with patriarchy is that it’s like beach sand; it gets in everywhere – particularly in the unexamined crevices of the mind. Even the most dedicated feminists can find themselves dancing to the patriarchal tune without even realizing their feet are moving.
This was brought home to me a few weeks ago when I was going through some materials from the 2010 African Feminist Forum. The forums have been held annually in different countries for at least the last 3 years. They bring feminists from across the continent together to discuss what it means to be a feminist in Africa and how to overcome issues facing the movement. While African feminism faces a lot of issues, one that struck me was the problem of poor leadership.
Like government and other patriarchal structures across the continent, feminist organisations were suffering from rigid, hierarchical power systems, incompetence, poor accountability and corruption. Patriarchal systems thrive on rigid hierarchies where those at the bottom are completely beholden to those above them. These caste systems can be enforced on the basis of class, age, race and of course, gender. Between individuals, that means that there is always a master-servant dynamic. Someone has to be in charge.
The goal of feminism is the goal justice and equality for all, with an emphasis on ending oppression based on gender. Thus “feminist spaces are created to empower and uplift women. At no time should we allow our institutional spaces to degenerate into sites of oppression and undermining of other women.”
Yet a pamphlet from the 2008 Uganda Feminist Forum noted that “some sisters have used their leader ship poditions and authority to undermine and suppress other women. Some have refused to relinquish their positions...The managing of organisations like personal chattels has run them down.”
Because the feminist movement is fighting against some very deeply ingrained prejudices (there are very few societies on earth that do not practice some form of gender discrimination) those who commit themselves to it must always be on their guard. In the 60s and 70s when the movement began to gain traction, there was a saying that “the personal is political.” It meant that feminists – and those who fight injustice of any kind – have to realize that they live within complex social systems that privilege certain ways of acting and thinking.
To fight these often unconscious biases, one has to examine everything one does - right down to the most mundane and the most personal - to make sure that they are in line with one's chosen principles. Those who don’t risk being labelled as hypocrites should they act outside of the boundaries of their professed values.
Thus, when I write I have to be careful that my characters don’t blithely act out gender stereotypes. When I structure my worlds, I have to pay attention to how women are treated without resorting to lazy assumptions of superiority and domination. That is not to say all my characters, settings and plots are feminist (there are wide ranges of thought even within the movement), but it is to say that if they aren’t, I can tell you why.
The problem with patriarchy is that it’s like beach sand; it gets in everywhere – particularly in the unexamined crevices of the mind. Even the most dedicated feminists can find themselves dancing to the patriarchal tune without even realizing their feet are moving.
This was brought home to me a few weeks ago when I was going through some materials from the 2010 African Feminist Forum. The forums have been held annually in different countries for at least the last 3 years. They bring feminists from across the continent together to discuss what it means to be a feminist in Africa and how to overcome issues facing the movement. While African feminism faces a lot of issues, one that struck me was the problem of poor leadership.
Like government and other patriarchal structures across the continent, feminist organisations were suffering from rigid, hierarchical power systems, incompetence, poor accountability and corruption. Patriarchal systems thrive on rigid hierarchies where those at the bottom are completely beholden to those above them. These caste systems can be enforced on the basis of class, age, race and of course, gender. Between individuals, that means that there is always a master-servant dynamic. Someone has to be in charge.
The goal of feminism is the goal justice and equality for all, with an emphasis on ending oppression based on gender. Thus “feminist spaces are created to empower and uplift women. At no time should we allow our institutional spaces to degenerate into sites of oppression and undermining of other women.”
Yet a pamphlet from the 2008 Uganda Feminist Forum noted that “some sisters have used their leader ship poditions and authority to undermine and suppress other women. Some have refused to relinquish their positions...The managing of organisations like personal chattels has run them down.”
Because the feminist movement is fighting against some very deeply ingrained prejudices (there are very few societies on earth that do not practice some form of gender discrimination) those who commit themselves to it must always be on their guard. In the 60s and 70s when the movement began to gain traction, there was a saying that “the personal is political.” It meant that feminists – and those who fight injustice of any kind – have to realize that they live within complex social systems that privilege certain ways of acting and thinking.
To fight these often unconscious biases, one has to examine everything one does - right down to the most mundane and the most personal - to make sure that they are in line with one's chosen principles. Those who don’t risk being labelled as hypocrites should they act outside of the boundaries of their professed values.
Thus, when I write I have to be careful that my characters don’t blithely act out gender stereotypes. When I structure my worlds, I have to pay attention to how women are treated without resorting to lazy assumptions of superiority and domination. That is not to say all my characters, settings and plots are feminist (there are wide ranges of thought even within the movement), but it is to say that if they aren’t, I can tell you why.
Thursday, March 31, 2011
Feminist Action-Adventure Movies
So there's a lot of noise about Zack Snyder's "Sucker Punch," an action adventure about a young girl's attempt to escape from a mental hospital. I saw the trailer and it looks amazing: dragons, Nazi's and samurai swords - does it really get better than that? And to top it off, you've got five young women kicking ass and taking names (granted, they're in fishnets and school uniforms, but still). Now, while I'm excited about the movie, I'm not sure I'm going to enjoy it, and here's why:
First of all, I love action adventure movies, but I've long given up on seeing any strong female characters who don't have to be rescued by the hero at some point in the movie, no matter how ass-kicky she is at first. Second, it's directed by Zack Snyder, the man who gave us the ab-tastic, but essentially plotless "300." Third, it's gotten mixed reviews. Those who liked it, really, really liked it. And those who didn't, thought it was the end of the world. Not good.
So, in case you see and find that it offends your feminist sensibilities, here are some action-adventure movies with (truly) strong female leads that will wash its taste out of your mouth.
1. The Quick and the Dead (1995): A mysterious female gunslinger enters an elimination tournament for the best gunslingers in the West in order to get to the town's sadistic mayor, the man who murdered her father. Saw this the other night and it reminded me why I love Sharon Stone. She may be famous for that one scene in that one movie (you know what I'm talking about), but this is her at her best. Also featuring a young Leonardo DiCaprio, Gene Hackman and Russell Crowe.
2. Cutthroat Island (1995): Geena Davis is a crafty female pirate going up against the boys and holding her own in this madcap race to find hidden treasure. At lot more buckle for your swash than "Pirates of the Caribbean," and on a much cheaper budget.
3. Alien (1979): In this sci-fi classic, a mining crew responding to an SOS discovers some of the scariest creatures ever to pop out of Hollywood's imagination. Sigourney Weaver plays Ripley, a woman caught in a situation far bigger than herself who still manages to come out swinging.
4. Crouching Tiger, Hidden Dragon (2000): An impetuous young martial arts prodigy wreaks havoc when she steals a special sword. Two legendary warriors set off in pursuit, but they must also contend with the thief's former lover who also wants her back. The fight scenes are amazing and the Zhang Ziyi, who plays the lead role, is both infuriating and mesmerizing all at once.
Ok, I've spent an inordinate amount of time on this post. There are a bunch of movies that have strong female characters, but because they lacked compassion for other women (these women were just as dismissive and contemptuous of other women as male action leads often are) they were disqualified as "Chicks with Guns." so if anyone has other suggestions for great, feminist action movies, please let me know.
First of all, I love action adventure movies, but I've long given up on seeing any strong female characters who don't have to be rescued by the hero at some point in the movie, no matter how ass-kicky she is at first. Second, it's directed by Zack Snyder, the man who gave us the ab-tastic, but essentially plotless "300." Third, it's gotten mixed reviews. Those who liked it, really, really liked it. And those who didn't, thought it was the end of the world. Not good.
So, in case you see and find that it offends your feminist sensibilities, here are some action-adventure movies with (truly) strong female leads that will wash its taste out of your mouth.
1. The Quick and the Dead (1995): A mysterious female gunslinger enters an elimination tournament for the best gunslingers in the West in order to get to the town's sadistic mayor, the man who murdered her father. Saw this the other night and it reminded me why I love Sharon Stone. She may be famous for that one scene in that one movie (you know what I'm talking about), but this is her at her best. Also featuring a young Leonardo DiCaprio, Gene Hackman and Russell Crowe.
2. Cutthroat Island (1995): Geena Davis is a crafty female pirate going up against the boys and holding her own in this madcap race to find hidden treasure. At lot more buckle for your swash than "Pirates of the Caribbean," and on a much cheaper budget.
3. Alien (1979): In this sci-fi classic, a mining crew responding to an SOS discovers some of the scariest creatures ever to pop out of Hollywood's imagination. Sigourney Weaver plays Ripley, a woman caught in a situation far bigger than herself who still manages to come out swinging.
4. Crouching Tiger, Hidden Dragon (2000): An impetuous young martial arts prodigy wreaks havoc when she steals a special sword. Two legendary warriors set off in pursuit, but they must also contend with the thief's former lover who also wants her back. The fight scenes are amazing and the Zhang Ziyi, who plays the lead role, is both infuriating and mesmerizing all at once.
Ok, I've spent an inordinate amount of time on this post. There are a bunch of movies that have strong female characters, but because they lacked compassion for other women (these women were just as dismissive and contemptuous of other women as male action leads often are) they were disqualified as "Chicks with Guns." so if anyone has other suggestions for great, feminist action movies, please let me know.
Saturday, March 26, 2011
Tu Books Wants you ... well, your work anyay
There aren't a lot of markets specifically targeting writers of speculative fiction who feature people of color. There are plenty of support spaces where you can get advice, inspiration and just meet cool people who love and produce this stuff. But not a lot of places actively looking for submissions.
So I was pretty chuffed (love that word!) to find this call for submissions on the Writers Afrika site. Here's what they are looking for:
TU BOOKS, an imprint of LEE & LOW BOOKS, publishes speculative fiction for children and young adults featuring diverse characters and settings. Our focus is on well-told, exciting, adventurous fantasy, science fiction, and mystery novels featuring people of color set in worlds inspired by non-Western folklore or culture.
We are looking specifically for stories for both middle grade (ages 8-12) and young adult (ages 12-18) readers. (We are not looking for picture books, chapter books, or short stories at this time. Please do not send submissions in these formats.)
Manuscript Submissions:
* Manuscripts should be typed doubled-spaced.
* Manuscripts should be accompanied by a cover letter that includes a brief biography of the author, including publishing history. The letter should also state if the manuscript is a simultaneous or an exclusive submission.
* Please include a synopsis and first three chapters of the novel. Do not send the complete manuscript.
* We're looking for middle grade (ages 8-12) and young adult (ages 12 and up) books. We are not looking for chapter books (ages 6 to 9) at this time.
* Be sure to include full contact information on the cover letter and first page of the manuscript. Page numbers and your last name/title of the book should appear on subsequent pages.
Only submissions sent through regular post will be considered. We cannot accept submissions through email or fax.
We will respond to a submission only if we are interested in the manuscript. We are not able to return manuscripts or give a personal response to each submission, so please do not include a self-addressed stamped envelope or a delivery confirmation postcard, or call or email about the status of your submission. If you do not hear from us within six months, you may assume that your work does not fit our needs.
PLEASE SEND ALL SUBMISSIONS TO:
Submissions Editor, Tu Books, 95 Madison Avenue, Suite 1205, New York, NY 10016. If you require confirmation of delivery, please send the submission with a U.S. Postal Service Return Receipt.
Resources for Writers:
For examples of the kinds of novels we're looking for, check out this list of multicultural science fiction and fantasy novels. Note that there is a gamut of historical, contemporary, futuristic, alternate-world, and other kinds of speculative fiction.
For guidance on word counts and other requirements for middle grade and young adult novels, check out the Society of Children's Writers and Illustrators, which should lead you to more information. Also keep an eye on the LEE & LOW blog and Tu Editorial Director Stacy Whitman's blog, because these experts have great advice for writers.
So I was pretty chuffed (love that word!) to find this call for submissions on the Writers Afrika site. Here's what they are looking for:
TU BOOKS, an imprint of LEE & LOW BOOKS, publishes speculative fiction for children and young adults featuring diverse characters and settings. Our focus is on well-told, exciting, adventurous fantasy, science fiction, and mystery novels featuring people of color set in worlds inspired by non-Western folklore or culture.
We are looking specifically for stories for both middle grade (ages 8-12) and young adult (ages 12-18) readers. (We are not looking for picture books, chapter books, or short stories at this time. Please do not send submissions in these formats.)
Manuscript Submissions:
* Manuscripts should be typed doubled-spaced.
* Manuscripts should be accompanied by a cover letter that includes a brief biography of the author, including publishing history. The letter should also state if the manuscript is a simultaneous or an exclusive submission.
* Please include a synopsis and first three chapters of the novel. Do not send the complete manuscript.
* We're looking for middle grade (ages 8-12) and young adult (ages 12 and up) books. We are not looking for chapter books (ages 6 to 9) at this time.
* Be sure to include full contact information on the cover letter and first page of the manuscript. Page numbers and your last name/title of the book should appear on subsequent pages.
Only submissions sent through regular post will be considered. We cannot accept submissions through email or fax.
We will respond to a submission only if we are interested in the manuscript. We are not able to return manuscripts or give a personal response to each submission, so please do not include a self-addressed stamped envelope or a delivery confirmation postcard, or call or email about the status of your submission. If you do not hear from us within six months, you may assume that your work does not fit our needs.
PLEASE SEND ALL SUBMISSIONS TO:
Submissions Editor, Tu Books, 95 Madison Avenue, Suite 1205, New York, NY 10016. If you require confirmation of delivery, please send the submission with a U.S. Postal Service Return Receipt.
Resources for Writers:
For examples of the kinds of novels we're looking for, check out this list of multicultural science fiction and fantasy novels. Note that there is a gamut of historical, contemporary, futuristic, alternate-world, and other kinds of speculative fiction.
For guidance on word counts and other requirements for middle grade and young adult novels, check out the Society of Children's Writers and Illustrators, which should lead you to more information. Also keep an eye on the LEE & LOW blog and Tu Editorial Director Stacy Whitman's blog, because these experts have great advice for writers.
Thursday, March 17, 2011
The Fear (and Loathing) of Writing
At the beginning of this month I resolved to block off three hours (from 9pm to midnight) every night to write without distraction. At first I promised myself those hours would be dedicated to my novel, but then I expanded it to my personal writing – any fiction, short stories, articles, blog entries, whatever. But what most often happens is that I sit down at my system and stare blankly at an empty screen for a few minutes, getting worked up to a panic, then I wander off to “think,” get something to eat, then I come back end up surfing the net. My favourite sites seem to be: Facebook, Slate.com, Tor.com, io9.com and its feminist sister site Jezebel.com.
Not too long ago, I broke out in a cold sweat at the thought of having to write an article for work. I had been given more than enough time and resources to research it, but I still found myself paralyzed in front of a blank screen wishing I could be struck by lightning – anything to get me out of putting words to paper.
I realized that what I have is a real, legitimate fear of writing. Writing isn’t just typing words to paper (though it ultimately comes down to that). It’s having new experiences, it’s reading, researching, revising, submitting, and marketing yourself.
It sucks. And it’s starting to cost me.
I’ve been struggling with this for years. I’ve let down quite a few people because of it and it has really taken a toll on my sense of self. I know part of it is my need for perfection. I am not satisfied with just throwing words together; I want every sentence to sing. I’m also impatient. I don’t want to go through the gruelling tempering period it takes to make a great writer. I don’t want to have scads of manuscripts lying around, I want my first one to be gold and I’ll endlessly write and rewrite it – setting the goal posts ever farther away, to get that.
It would be easy to say that I’m lazy and that I lack discipline, though I’m sure that’s a big part of it. Without a deadline, I’ll dick around forever on a task. It would also be easy to say that that I don’t want it enough. I want to live the writer’s life – chuck it all and just become a freelancer, moving from country to country soaking up life and living by the products of my pen - but my writing has never felt truly legitimate. A part of me feels that being a writer is for chic bohemian types who wear dashikis and live in New York or Paris – it’s a lifestyle, not a job. All these would be true, but that wouldn’t be the whole story.
I know many writers who say they don’t feel quite as alive as when they are writing. Others say that while they find the process difficult, they do it because they feel compelled to it. I don’t. In fact, there is so much anxiety for me around writing that I try to avoid it as much as possible.
Unfortunately, writing is just about the only thing I do well, so when I don’t do it, I feel guilty that I’m wasting my talent. At the same time, when I do try to write I feel guilty that I’m indulging in a frivolous pastime and that I would be better off doing something useful – like cleaning the bathroom.
So writing isn’t fun for me. It’s nerve-wracking, dispiriting and has driven me to the edge of suicide on more than one occasion. I tried giving my writing an aura of legitimacy by doing it under the cover of journalism, but it turns out that reporters are not necessarily writers. They both write, but they have completely different motivations. I’m now trying publishing with an eye toward academia down the line.
I don’t hold out much hope, though. I should probably learn a new trade (dressmaking has always fascinated me) but, with my lack of common sense and people skills, I doubt I’d be any good at that either.
Friday, February 25, 2011
All about Superman
In the comics, Superman can come off as a bit of a boy scout, a little flat and unrelentingly - unappealingly - good. But in the hands of a good writer, this character takes on more nuance.
For instance, I just read a really funny story by Nathan Pensky called "Lois Lane’s New Boyfriend Rubs It In After Beating Superman At Ping Pong At a Family Barbecue." It's title really says it all. Then there is "Man not Superman," a story by Jonathan Goldstien. Also told from the point of view of Lois's new, human boyfriend, it explores the dichotomy between Superman's hero persona and his alter ego Clark Kent.
My absolute favorite literary retelling of the Superman story has to be "It's Superman," by Tom De Haven. The book is set in the 1920s and 30s and explores Clark Kent's early life as he navigates family, friends, growing up and his place in society. It reimagines him as plodding farmboy of average intelligence and a deep ambivalence about his powers. For the first time, readers start to understand the man behind the cape - reminding us why his story appeals to us over and over again.
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