My Faves: Time Travel Fiction and Media

Fans of NPR’s Weekend Edition may have caught a familiar voice when listening to the segment on time travel fiction. I had a great time talking to Petra Mayer about time travel, a topic near and dear to my heart. Yes, I am still writing a novel with time traveling twins (same world as my story in Diverse Energies). Now that all of NPR knows about it I guess I should finally finish.

In the mean time you can enjoy my best-loved time travel books, stories, and other media!

“It’s All True” by John Kessel (contained in his collection The Baum Plan for Financial Independence and Other Stories)

I mentioned this during the time travel panel at ReaderCon. In this story, a future society has invented time travel and they use it to go to parallel worlds, travel back in time, get famous people from the past, then bring them forward in time back to their own timeline. Thus avoiding changing their future. I swear this makes sense. The story centers around one guy’s attempt to convince Orson Wells to come to the future.

the freedom maze and kindred

The Freedom Maze by Delia Sherman and Kindred by Octavia Butler

I mention these two together because they share a basic premise (but are very different in sensibility as well as plot). In both, a person from modern times is thrown back into the era of American slavery, ends up with people who are her ancestors, and has to live as a slave for some portion of time. In Kindred the person is a grown woman who is pulled backward in time multiple times. In The Freedom Maze the person is a young girl who is actually white, but because she’s very tan is mistaken for a mulatto. She stays in the past for weeks and it’s unclear whether she’ll ever get back home. Both novels explore modern perspectives on the past in interesting ways.

Past Tense” and “Trials and Tribble-ationsStar Trek: Deep Space Nine

Some people will try to tell you that the best Star Trek episode about time travel is “The City on the Edge of Forever”. I don’t mind telling you that those people are wrong. As with so many things Star Trek, DS9 has the best episodes using this story vehicle. My ultimate favorite is, of course, the tribble one where the crew of DS9 travel back to the episode “The Trouble With Tribbles” and have to blend in with the original Enterprise crew. It’s awesome on so many levels from how seamlessly the effects crew blended the footage from TOS with the new footage to moments like this:

However, “Past Tense” has stayed with me all these years for a different reason. DS9 was often very social justice oriented, and this episode was chock full of it. For once, when Star Trek people ended up in the past on Earth it was not in the 20th century. Instead, they land in 2024 (still in San Francisco, though) in a dystopian America that is sadly not that hard to imagine. People who are poor, sick, or just undesirable are cordoned off into ghettos. And not just ghettos in the urban sense, but actual ghettos with walls and fences and an inability to get out where people have to fight over food rations and only get a place to sleep if the local gangs think you’re okay. It’s terrifying and not that far off the mark. This episode aired about 20 years ago. 2024 is 10 years from now. Think Star Trek will prove prescient?

Terminator: The Sarah Connor Chronicles

This series didn’t get a chance to flourish fully and it ends on what could be a cliffhanger or what could seem like a satisfying end given that we sort of know what happens after. The second season dragged in the middle for sure, but overall this is one of the best entries in the Terminator franchise, right up there with T2 and way better than T3 or what weird one with Christian Bale.

The main characters in SCC don’t do much time traveling themselves. What I loved about the time travel elements is that the war between Skynet and the humans takes place not only in the future but across both the relative past, the future, and the present. Several people and Terminator models are sent back in time at different points for specific and long term missions. And each time a person or group of people are sent back, it changes the future. So that woman you knew in the resistance and see again on the street might not be the exact person you knew, but a version of them.

And even when they strike a blow against Skynet, be it by destroying tech that will lead to it or getting rid of a Terminator come to kill someone, it doesn’t necessarily mean Skynet won’t still rise, it’ll just rise at a different date. All these elements are key to the plot, and kudos to the show for making all of this relatively straightforward and understandable. It’s not just some jumbled timey-wimey mess.

I am always looking for more time travel fiction to add to my to-read pile. Rec me some in the comments, if you would!

Reading, Reviewing, and ‘Rithmatic

I’ve been bad about updating this blog with new and exciting news about myself. So here’s some news.

Last week my review of the new Octavia E Butler eBook Unexpected Stories went up at NPR Books. I really enjoyed the book and my only sadness is that there aren’t more new stories to read. Go read the review and then go buy the book.

This week I am back on io9 posting roundups of my favorite short stories. Now it’s weekly instead of monthly, so I can talk about more stories I love.

Now that I’m reviewing for NPR and doing the story thing on io9 folks have been asking me about sending review copies and such. I have a policy! I’ll also post this on my About page, but here it is in case you’re curious:

NPR has pretty strict conflict of interest rules, so if we’re friends or I know you well or if you have published me I can’t review your book or an anthology/collection you’re in or you edited. It’s sadface sadness, I know. I can suggest books to my editor who will then pass them on to a reviewer without conflicts and that is okay. If you do not know me, you can certainly ask if I’d like a review copy of your book/anthology/collection. If I’m interested, I’ll pitch it to my editor. I cannot make the final decision on whether I can review something for NPR, so I may have to say no.

The io9 posts are not strictly reviews and I’m not claiming complete objectivity. The stories I mention are the ones I personally like, and that may include stories by people I know. I pick stories from the magazines (and sometimes anthologies) I read and that mostly includes free online ones. But if you have a print mag, or an eBook version of your zine with extra content, or an anthology you’d like me to read in case I like a story enough to mention it, please do let me know! Me agreeing to read does not guarantee you’ll get a mention, just so you know.

All that business aside, I’m very much enjoying reading more again and highlighting excellent fiction where I can. I’m still looking for a place to write about other media, especially when the Fall TV season starts up again.

N. K. Jemisin’s Introduction – WisCon 38

This year my role on the WisCon concom was as Nora’s guest of honor liaison. And one of the perks of that job is that I got first dibs on introducing her at various key moments, such as the night she gave her big speech. However, I wasn’t sure how such introductions go since I couldn’t remember the ones from past years. I asked Debbie Notkin and she suggested I could make it somewhat personal. Like the story of how we met (which was at WisCon). So, that’s what I did.

I never suspected that it would get such a strong reaction. Since a couple of people asked, I’m dropping the intro here for the folks who couldn’t be there.

Earlier this weekend I started to tell the story of how Nora and I first met. I remember it being at WisCon, she contends that it was at ReaderCon. But this is WisCon, and saying it happened at WisCon makes for a better story. So my memory wins.

We met at WisCon when Nora came up to me and, as way of introduction, said: Do you want to take bets on which of us gets mistaken for the other first? And I said: I’m not taking that bet because I’ve already been mistaken for Nalo Hopkinson today.

Back then there were only a handful of POC at WisCon–a generous handful, but the number was small. It was easy for Nora and I to remember each other for the rest of the weekend, and then later at ReaderCon, and then later online when we ended up arguing with the same people about the same stuff. Pretty soon she was blogging with me, then living in the same city as me, and then joining a writing group with me.

And let me tell you guys that I am so lucky to have her as a friend, and as a person I can turn to when I need writing advice or a critique. And I am super lucky that I sometimes get to read her stories and novels before almost anyone else. You’ve seen the announcement about that new book, The Fifth Season, coming out next year? I’ve read that book and it is awesome. Nanni nanni booboo.

Nora’s fiction is important for all the reasons why fiction written by a black woman from America is important. Representation is important. Our voices are important. But let’s not forget: her fiction is also damn good. I can’t tell you how many times I read the climactic chapter of The Hundred Thousand Kingdoms and every single time it gave me chills. I loved the other two books in the Inheritance trilogy, too. But then I got to The Killing Moon, first in the Dreamblood duology and there were ninja priests of death and it was AMAZING.

There are times when I can’t believe I know someone who writes that well. The worlds she builds and the characters she creates are vibrant and alive and, yes, diverse and full of people who look something like me. But anyone can find something of themselves in the pages of an N. K. Jemisin book. And that is why we’re celebrating her this weekend. Gentlefolk of WisCon38, please welcome to the stage your guest of honor: N. K. Jemisin.

Towards A Database of Workshops

database

My post the other week about writers of color and greater access to workshops generated much discussion both on the post itself and on social media. Out of these discussions came some great ideas and the hazy outline of a plan. A plan I hope to recruit a few of you to in the near future.

Several people pointed out that in additional to local in-person workshops and online classes there are also workshops at conventions. And Claire had some great thoughts on how non-profit organizations can create workshops that are free or low cost. All of this made me realize that the first step is to create a database of existing writing workshops for speculative authors. This would include all kinds of workshops from the boot-camp style 6 week ones ala Clarion to the online ones that happen either via video chat or email and message boards.

The database would include not only basic information about the workshops but also any information about financial aid or slots specifically set aside for writers from certain backgrounds (POC, LGBT, disabled, low-income, etc.). This is not a requirement for being in the database, but it will help people when searching. I spoke to Mary Anne Mohanraj and she agreed to let us host this on the Speculative Literature Foundation’s website. There are some workshops listed there already, though that info isn’t as comprehensive as this database will be and the goal is to keep it updated regularly.

Creating a database like this will take some technical expertise as well as some other volunteer effort. I think there’s a way to use a Google Docs spreadsheet as a queryable database, which would make gathering the information on the workshops easier. Just create an online form for workshop admins or authors or teachers to fill out to populate the database, then make it searchable. Thing is, I don’t know if this is truly possible, so I would love to hear from those who do. Help setting this all up would be amazing.

This project will also need volunteers to help keep the data current and correct and to run the second part I envision: the mailing list. The list will be for keeping people up to date on new workshops, workshop deadlines, and scholarship/financial aid deadlines. To keep it simple, it only need to go out once per month, and it will rely on information from the database and provided by those offering workshops.

Overall, this project will probably take a significant chunk of time to set up and then very little time to maintain once it’s done. I’m able to head up something like this, especially once we get into April. However, I don’t have the time (or spoons) to run it on my own. So I’m officially looking for volunteers. Even if you can only do a small chunk (like helping set up the database or running the mailing list for 3 months) that would be amazing. If we get enough volunteers, then everyone will only have small, manageable tasks.

Once the database is set up and there’s a clear picture of how many workshops are available, where they’re available, and what financial aid is on offer, it’ll be easier to plan the next phase: getting more writers of color to these workshops.

Notebooks, Pens, Longhand, and Cracking Open Creative Floodgates

I love paper by Manuela Hoffmann on Flickr

Still thinking about the concepts I brought up in the Gesture Writing post from last week. One piece of the process I didn’t expand on and now realize I should have is the part where Howard talks about sitting down with a notebook:

I wrote all over the page, a line of complete dialogue followed by a place-holder phrase of exposition, a one-word reminder of the next action followed by an arrow to the margin where I’d scribbled a description of a key image. The page looked a mess. But I had captured the movement of the scene…

A key part of this is that she sat down with pen and paper to capture the scene, not her computer. And maybe that’s because she needed to get away from her laptop in order to think differently. Just the fact that she had a ready notebook says something else.

At ReaderCon last year I did a fabulous interview with Andrea Hairston1 where she talked about how writing with a pen on paper activates the creative parts of the brain in a way typing on keys does not. It’s about the movement of the hand, the connection to the body. It’s no surprise that a drawing class inspired Howard if she’s the type to take up a notebook when attempting to work out a tangled scene.

I keep a paper notebook and I carry around way too many pens because I’m fussy about them2. I don’t need them for writing actual fiction longhand; I do need them for thinking about what I’m going to write. I’m convinced that the scene outlining thing only works well for me if I do that outlining in my notebook and not on a computer. Writing it out longhand opens up my head and makes the creative juices flow. I didn’t know this is why scene outlining led to much easier writing days, but after talking to Andrea it all clicked.

I prefer a lined journal. Never did get the habit of keeping my lines straight without a guide. Sounds like Howard’s notebook is a blank one as her method would only be restricted by lines. I know some writers like this–Alaya Dawn Johnson has shown me her writing notebooks in the past and I don’t know if I could handle all that beautifully controlled chaos. It works for her, though! My working things out tends to be more straightforward stream of consciousness writing. I might skip all over the place in my head, on paper the skipping happens one word after the other.

I’m not opposed to trying a more free-form, lineless journaling style. Not many journals give you multiple choices. It’s either lines, grids, or blank. Technology could be the answer here. I’ve written before about tablet and pen solutions and I own a Galaxy Note 8 that I use for work notes. If someone took away my paper and pen forcefully and made me use the Note for everything, I wouldn’t be completely depressed. Don’t know if I would be completely satisfied, either.


Footnotes

  1. Which will be an episode of our podcast and that podcast will happen someday I SWEAR. []
  2. Check out my fussiness here on the Month of Letters blog []

Thoughts on Gesture Writing, Scene Outlining, and the Essence of Things

gesture_02 by Patrick Grizzard

On Facebook, someone shared a year-old opinion piece titled “Gesture Writing” from the New York Times that I really love and saved to my Pocket account immediately. In it, author Rachel Howard talks about her early days as an artist model for introductory drawing classes.

“Find the gesture!” the instructor would shout, as the would-be artists sketched. “What is the essence of that pose? How does that pose feel to the model? The whole pose — quick, quick! No, not the arm or the leg. The line of the energy. What is that pose about? Step back and see it — really see it — whole.”

In a gesture drawing, a whole arm that didn’t matter much might be just a smudgy slash, while a line that captured the twist of a spine might stand in sharp, carefully observed relief. The “gesture” was the line of organic connection within the body, the trace of kinetic cause-and-effect that made the figure a live human being rather than a corpse of stitched-together parts. If you “found the gesture,” you found life.

As she struggled to write her novel, the words of these instructors came to her again.

Find the gesture. Don’t worry about the details. What is the essence of that pose?

I left my laptop at my desk and moved to the other side of the room to sit on the floor with my notebook.

Where’s the line of energy? What is the essence of what you see? Quick! I wrote all over the page, a line of complete dialogue followed by a place-holder phrase of exposition, a one-word reminder of the next action followed by an arrow to the margin where I’d scribbled a description of a key image. The page looked a mess. But I had captured the movement of the scene, not one line of dialogue connected clunkily to the next action. There was the whole. It made leaps. It had perspective. It had emphasis and connection. It had life.

Realizing that writing is a lot like drawing gives us a deeper approach. Because really, before we put a word or a mark on the page, both writers and artists must first step back and see. …to see deeply enough to capture the vibrancy of life on the page, a writer must move her consciousness out of information organizing mode into an intuitive way of seeing subtle organic connections and capturing them in bold strokes.

This essay reminded me of a post from the SFWA blog someone sent me years ago: the 10,000 words a day post. I know people have a ton of strong opinions about that post. I’ve found the part about scene outlining to be very useful, even if I still can’t write 10K per day.

…instead of trying to write the scene in the novel as I had been, I started scribbling a very short hand, truncated version the scene on the paper. I didn’t describe anything, I didn’t do transitions. I wasn’t writing, I was simply noting down what I would write when the time came. It took me about five minutes and three pages of notebook paper to untangle my seemingly unfixable scene, the one that had just eaten three days of my life before I tried this new approach. Better still, after I’d worked everything out in shorthand I was able to dive back into the scene and finish it in record time.

Looking back, it was so simple I feel stupid for not thinking of it sooner. If you want to write faster, the first step is to know what you’re writing before you write it. I’m not even talking about macro plot stuff, I mean working out the back and forth exchanges of an argument between characters, blocking out fights, writing up fast descriptions. … If the scene you’re sketching out starts to go the wrong way, you see it immediately, and all you have to do is cross out the parts that went sour and start again at the beginning. That’s it. No words lost, no time wasted. It was god damn beautiful.

I have some success with this method, and after reading the NYT piece I can now identify why there are times it works better than others. When I sketch the scene in ways that focus on the “gestures” and the essence of the scene. Is it emotion? Or exposition?

A thing I’m actively working on in my writing now is visual description of people, environment, movement. Trying to find that balance between giving my reader enough detail so it’s not a white room but not so much detail that I bog the reader down. Too often I read books and short fiction where the author, in trying to be as descriptive as possible, burdens me with so much visual detail that I can no longer see the thing for myself. It’s like the art students trying so hard to render the fingers exactly when they should focus on what in the body has the most life and get that down on paper.

I’d love to know what techniques you employ to get at the essence of a scene as you write.

Getting More Writers of Color to Workshops: A Modest Proposal

Getting More Writers of Color to Workshops: A Modest Proposal

Taking a break from talking about the Hugos and Jonathan Ross for actual important stuff.

A few days ago I tweeted:

Writers of Color, raise hands if you want to attend writing workshops but can’t afford one financially.

And I got many responses. One of the reasons I asked is because I wanted to point out again why the Writing Excuses Carl Brandon Scholarship was important and encourage people to apply1. Then a couple of responses made me realize I needed to do something else as well.

@cafenowhere That’s me. With added complication of being main care giver to a child & living in the Midwest.

@LonAitewalker *raises hand* compound that with being disabled as well – double whammy.

Lack of funds isn’t the only barrier. There’s the inability to miss work for a week or weeks at a time, or not having anyone to leave a child with for that time, or other obligations that make going away to a workshop not possible.

As other responses point out, going to a workshop can be a life-changing experience. Not only do you gain valuable writing instruction, you also get valuable networking done and face time with authors who are generous with their advice and influence. Workshopping is an important element in developing a career. It’s not necessary, it’s just very helpful.

So how can we make workshops more widely available to writers who are more likely to miss out on these opportunities? A few good ideas I’ve seen lately:

One Day Workshops: Clarion West does these occasionally (and lately doing more of them). They usually involve tackling a particular subject, like how to research or how to create more immersive fiction, take place on a weekend day, and cost a fraction of what the 6 week workshop costs. The downside is that they only take place in Seattle for now. I hear that there are discussions to expand into…

Online Classes via Google Hangout: I’ve heard of several writers doing this, but the only class I’m at all familiar with is Mary Robinette Kowal’s. She does two types, a weekend intensive (Friday night to Sunday) and an 8-week course that meets one day a week. Since they take place online you don’t have to travel and it may be easier to structure your time even if you have caregiving obligations. Click here to see explanations for her workshops, which will give you a good idea of how most are run.

Neither of these solutions is absolutely perfect and will work for everyone. They go a long way toward helping, though. More one day workshops in other cities and towns mean more people can attend. Doing things online through Google Hangouts open it up even more–you don’t even need a webcam, just a mic2. Then we’re back to cost.

These workshops are far less expensive than the long 6-week ones like Clarion or even retreat-type workshops like Out Of Excuses. That doesn’t mean they’re that much more affordable since the cost is still in the hundreds for many. Scholarships are needed here as well.

I have a request for pro authors giving workshops and organizations coordinating workshops. Would you be willing to set aside one registration per workshop for a writer who cannot afford it but would greatly benefit from attending? Could you perhaps work with an organization willing to help coordinate some of the particulars, like matching writers who want to attend with appropriate workshops?

People involved in organizations and community groups that raise awareness around diversity in the genre, would you help out by doing some of that coordinating? Or even setting up scholarship funds so that the workshop runners still get paid?

This could end up being a major project for some non-profit, but major projects take time to build. As that happens, if that happens, I’d still like to see some smaller efforts to help build momentum. Such as workshops deciding to set aside that one registration. Or writers helping each other raise money individually. A larger project like Con or Bust would be great in the long term. I just don’t want people to think we have to wait for that to come together in order to get started.

So let’s discuss this! Here in the comments, on social media, at cons, wherever. This is just the spark of an idea. Help me grow it.

Oh, and apply for the Writing Excuses Carl Brandon Scholarship! Applications must be in by 3/15. If you can afford the time but can’t afford registration, hotel, and travel, the scholarship covers those things.


Footnotes

  1. BTW – People, apply! Deadline Is 3/15 []
  2. You do need a reliable high-speed connection, and not everyone has that, I know. []
Some faces from Sirens 2013

I Spent Two Weeks Attending Two Women-Focused Geek Cons And It Was Pretty Awesome

Some faces from Sirens 2013

I love going to science fiction/fantasy conventions. It’s one of the biggest drains on my wallet throughout the year and I regret nothing. I love talking about SF/F media and literature with other people who love it the way I do.

When I first started attending the WisCon Feminist Science Fiction Convention, it was the only women-centric SF/F I’d heard of. Over the years, I got wind of others and friends encouraged me to attend two in particular: Sirens, an academic conference and retreat on women in fantasy literature, and GeekGirlCon, a convention celebrating women in media, science, and technology. When I found out that these cons took place on consecutive weekends in cities just four hours apart, I knew it was time for a lady geek excursion.

Avoiding the Rocks

I started my female-centric con experience with the Sirens conference, which takes place at the Skamania Lodge in Stevenson, WA. It’s a 40-minute drive from Portland, OR through the Columbia River Gorge. Driving along roads that cut through forests laden with turning leaves and close-clinging clouds that occasionally parted to reveal stunning waterfalls is the perfect way to get into the retreat mindset. By the time we crossed the Bridge of the Gods I knew I was heading to the perfect setting for a weekend of discussing fantasy literature.

Sirens is a very small conference with a narrow focus and only about a hundred women in attendance this year. This intimacy, combined with it being a conference and not a convention, gives Sirens a different vibe than most cons I’ve attended. There’s an emphasis on group discussions (not just panels), meals together, and individual keynotes each day. The narrow focus on academic discussions of women and fantasy literature gets even more specific in the keynotes and sessions that take on the yearly themes: warriors, faeries, monsters, retelling, and, in 2013, reunion.

Another thing affecting the vibe: a nearly complete lack of men. There were only three or four attending, so the conference space was almost exclusively women. (There may have been trans* or non-binary people whose gender I did not know, as well.) This might not seem unusual for a con that boldly announces the high presence of girl cooties up front. And if you’re familiar with academic conferences that focus on women’s issues, this won’t surprise you. It might if, like me, you’re from the world of SF conventions where even the most girl-cootie-filled among them (WisCon, for example) can still attract a decent number of guys.

Each of these elements contributes to the idea of Sirens as a “Safe Space” for women. Over and over conference organizers and attendees emphasized that point, and there is obvious pride in Sirens being the type of gathering where people can disagree yet still sit down to dinner together. Still, there are varying ideas of what makes a space safe.

As a woman of color, I don’t always find spaces created by white women or white feminists to be safe. Same with geeky or fandom spaces. Navigating the con scene means quickly assessing if a space is actually safe for me regardless of the label on the tin. It’s not often that someone sets out to make me uncomfortable or unwelcome at a con. Instead, I’ll encounter an unwitting microagression. Or, a person with no concept of their privilege, let alone how to check it, says or does something upsetting. That wasn’t my experience here.

I ended up pleasantly surprised at the depth of the attendees’ knowledge and interest in fantasy literature that goes beyond the white/white-washed epic tomes so often held up as great examples of the genre. Everyone I met was eager to understand different points of view and experiences of the world beyond their own. Nowhere was this clearer to me than in the Q&A sessions after the guest of honor keynotes by Alaya Dawn Johnson and Guadalupe Garcia McCall. Both women of color gave deeply personal speeches full of intersectional ideas and the understanding and solidarity they received back from the room impressed and bolstered me. This is the kind of space I feel safe in.

Meanwhile, At New York Comic Con

That same weekend my friends back home went to New York Comic Con. Each time I hopped on Twitter or Facebook to see how things were going, I discovered some new instance of harassment. It made me glad I was on the other side of the country.

There had been concerns prior to the con that one or more groups of dudes looking to entertain their fellow dudebros on YouTube might come to NYCC for the express purpose of harassing women there. Between the self-styled Referees of Cosplay who intended to call out women “too fat” to dress up as their favorite characters, the guys kissing women without permission so they could film their reaction, and the horrid SiriusFM-affiliated Man Banter dudes engaging in both sexist and racist harassment, the weekend was chock full of fail.

The good aspects of the con didn’t always balance out the fail for some people, especially women targeted for harassment. The swift action of the NYCC organizers to address the harassment is praise-worthy; it just doesn’t address the underlying problem. Even though Mike Babchik is banned, there are plenty of other men ready to take his place. And these men feel that New York Comic Con is an appropriate venue for their activities.

Thinking about why that might be, and the contrast between my friends’ NYCC experience and my Sirens experience got me thinking about the kind of conventions I attend and why. I only go to NYCC because I live in NYC, and even then only if I get a free press pass. I used to wish I could go to San Diego Comic-Con, but I prioritize my budget toward attending WisCon, World Fantasy, ReaderCon, or DragonCon. I stopped going WorldCon regularly several years ago. I would rather clean toilets than attend either PAX.

All of these cons cater to what I love — though the focus, vibe, and general purpose differ — and are ostensibly safe spaces to be a giant geek. Yet I do not feel that my geek self is welcome or wanted at SDCC, NYCC, PAX, or WorldCon.

Women Are Ambassadors

After San Diego Comic-Con I saw this quote, attributed to Hannibal‘s Bryan Fuller, popping up around Tumblr:

“What was really great about Comic-Con, it shows that the core demographic is young women… It’s all young ladies. Women love genre, they’re more open to genre in a strange way. … Women are the ambassadors.”

This is not new information. It’s also not just anecdotal. When Networked Insights measured social media response and engagement around the media being discussed at SDCC in 2013, women made up the majority. Brett Schenker’s compilation of statistics from Facebook show that 40% of the people who Like comic-related things are women. Facebook’s Doctor Who fandom is mostly female, according to this data. Women make most tech buying decisions, download more movies and TV shows than men, and play more games on certain platforms.

In his book “Comic-Con and the Business of Pop Culture,” Rob Salkowitz points out that “women today are the loudest and most compelling voices in fandom.” Yet the average media, comic, or science fiction convention is generally dismissive of, if not hostile to, the non-cis, het male population.

I could bring up a mountain of examples, but here are three:

SDCC 2011: Batgirl vs. DC Comics

ReaderCon and WorldCon 2012: Renee Walling vs People Who Don’t Want To Be Sexually Harassed

PAX 2013: Dickwolves vs All Common Sense

This crap is flying at women from all quarters: con attendees, con runners, con guests, con sponsors. It’s not surprising that more conventions and conferences now exist to offer respite from the nastiness. Sirens is one approach, GeekGirlCon is another.

Re-Centering The Focus

GeekGirlCon, now in it’s third year, is a more varied convention. It’s similar in style and scope to media and comic cons, though throws the net wider than most by including science, technology, engineering, and math (STEM) alongside literature, games, comics, TV, movies, and more. For such a young con I’m impressed with how ambitious GGC is in terms of providing a space for everything from tabletop gaming to professional networking, all with a focus on women.

That said, GeekGirlCon is a work in progress. The con’s track record on intersectionality is muddy, starting with the first year. A friend of mine warned me off this con because she got a strong vibe that she is not the “right type of geek girl” due to being POC. That was more about the attendees than the con itself, though this year a swell of anger rose up when people learned that problematic career feminist Amanda Marcotte was invited to participate in programming. As I said, work in progress. After talking to members of the staff and geeks involved in the community around GGC, it seems the con is worth the work and is also important on a larger scale.

At the Changing Culture in Mainstream and Alternative Spaces panel, I and my fellow panelists talked about the value of cons that focus on sub-sections of the geek community, such as women or LGBT people, and whether it’s better to create our own safer spaces or to try and make the mainstream conventions a better place for all geeks to be. Ben Williams, a founder of GaymerX/GaymerCon, spoke about how separating from a larger, less inviting culture has big benefits in helping people feel like they really belong.

However, Jo Jo Stiletto pointed out that even creating your own thing — in her case, roller derby — for your in-group doesn’t mean that it won’t grow and change into something that no longer feels right for you. Game designer Shoshana Kessock advocated for changing cons from the inside because she feels that if we completely withdraw, then the mainstream will only see geeks as the stereotypes we leave behind.

I can understand that point of view and I am often an advocate of changing instead of abandoning the cons I love. It can work; just look at how WisCon and ReaderCon have shifted in the past five years. However, there’s a big difference between those cons and PAX or SDCC, entities that aren’t as susceptible to big changes enacted by dedicated volunteers. I say the only way to force a change in that type of con is to starve them of their lifeblood: geek money and attention.

There Are A Lot Of Men Here

That’s where cons like GeekGirlCon come in. Here you have all the same kinds of events and panels and activities as other cons but with women at the center of the conversation. In this environment women hopefully feel like their voices and experiences and way of geeking out are celebrated and appreciated. If you listened to the common wisdom about centering women, you’d think that this type of con would result in a low male turnout. Not as low as Sirens, of course. But guys wouldn’t flock to this type of environment, would they?

Uh, yeah, they would.

There were far more men at GeekGirlCon than I expected and they participated at every level: on staff, on panels, and as attendees. And yet GGC people also spoke of the con as a Safe Space. Again, the idea of what is safe differs depending on what type of woman you are, yet I was pretty confident that there wouldn’t be anyone there saying that they “want to buy an umbrella [that comes] with an Asian girl,” no matter the gender. It’s not about banning or even discouraging guys from coming to the con, it’s about making it clear what is and is not valued that leads to a con women can feel safe attending.

So forget any ridiculousness you hear about how cons that cater to specific or marginalized groups are all about self-segregation. They’re not — not completely. Because if the con has all the elements geeks flock to cons for, it will attract all the geeks. And if these cons can attract geeks away from events that foster a hostile environment, then those other cons (and the media entities that support them) will either have to change or die.

There Are A Lot Of Women Here, Too

I’m torn on which option I want: Change or Die. The cons that represent the most problematic environments — NYCC, SDCC, PAX — aren’t the kind that I like to attend, anyway. I much prefer cons that are for the people attending and not media companies and sponsors looking to sell and market to us. Cons where fans and creators can share panel space and where attendees are treated with respect and not like cattle to be herded. And, after my two-week women-centric con adventure, I’m more reluctant than ever to go to cons that center the 18-49 year old, white, heterosexual male, explicitly or not.

Neither Sirens nor GeekGirlCon are perfect events and could benefit from a little change themselves. And I want to be part of that change. Because making a con better for me and women like me means making cons that are better for everyone. Guess I’d better start saving up now.

originally posted at xojane.

Writer Fears About Writing The Other: Here’s How To Get Over It [Updated]

Writer Fears About Writing The Other: Here's How To Get Over It [Updated]

Here’s one of the great circular conundrums of our time:

We need more characters of color/LGBT characters/characters with disabilities/characters that aren’t the default white, able-bodied cis male in commercial literature.

I, a fiction author, am afraid of writing characters of color/ LGBT characters/characters with disabilities/characters that aren’t like me or from my cultural and social understanding because I might get it wrong, and if I get it wrong people will be angry at me and yell and also ruin my career.

I’ve seen and heard writers (mostly white) express some version of that at least a hundred times since RaceFail 09. They point to that discussion or any number of other public Fails since then and go: SEE?! You see? That’s what happens when we try!

There are a few things about this that need addressing. First, large, public Fails actually happen when authors don’t try. Second, the problem is rarely that the author tried and didn’t get it exactly, 100% right. It’s that they failed and then acted like an ass when someone pointed it out to them. Third, avoiding author Fail isn’t as hard as some people make it out to be.

Most importantly, the consequence of being ruled by that fear is that you aren’t helping with the first problem. And if I may be so bold, I think the issue of representation is far, far more important than individual fears of getting it wrong. I also know that it’s hard to tackle that first issue without also addressing the second. Luckily, I have the solution.

You can attend a Writing the Other class, seminar, workshop, or retreat in person or online1. You can find upcoming classes on the Writing the Other Tumblr or get notifications about them via this mailing list.

[UPDATE: The retreat mentioned here is over, but there are new classes listed on the Tumblr and on my sidebar under Classes.] Next summer I’m teaching at the Writing the Other workshop/retreat alongside Nisi Shawl, Cynthia Ward, David Anthony Durham, and Mary Robinette Kowal. Tomorrow, registration for this workshop opens up. If you are the type of author who has been held back from addressing the issue of representation in SF by fear that you’ll get it wrong, this workshop will give you tools to help you get it right. There’s no guarantee that you will always, 100% get it right if you attend this workshop. I am confident that at the end of it you won’t be 100% ruled by fear.

Registration opens tomorrow, October 13th, at 12pm Eastern. The workshop fee is $500 and includes meals but does not include accommodations. Click over to the Eventbrite page to see all the details2.

How many of you will I see there?

 


Footnotes

  1. This section of the post has been edited and updated from the original version. []
  2. This workshop has come and gone! Join the mailing list to get a notification if we do it again or when we do online classes []

Inspiration | Resonance: The Art of El Anatsui

Peak (2010) by El Anatsui

A couple of weeks ago I saw an amazing exhibition of works by Ghanaian artist El Anatsui at the Brooklyn Museum. Anatsui takes found materials like metal and wood — considered trash by most — and turns them into amazingly flowy pieces of art that evoke cloth and drapery and alien landscapes. The intricacy of the works and the amount of time he clearly puts into them brings to mind intricate beadwork and quilt-making. Thinking about the time involved in connecting all those old tin can lids or aluminum bottle caps or metal strips from liquor bottles together by hand almost overwhelms me, but then I remember how I feel when I’m stringing beads together or working on an art project that requires tedious repetition. In the moment I’m not really thinking about that, I’m more focused on the end result. Working on projects as big as Anatsui’s would require getting into a meditative state in order to not drive yourself nuts, but it’s not hard to imagine doing so.

The way the exhibition is set up, the pieces get more and more flowy as you go along. In the last room I found my favorite piece: Peak. I immediately saw this as a post-apocalyptic or alien landscape and spent a good amount of time trying to imagine how it would look from eye-level. A bunch of the pictures I took were from as close to that perspective as I could get.

 I also took this video in an effort to get a sense of how it would be on the inside of this sculpture and also how it would look to someone approaching it at eye-level.