My schedule at Readercon

At Readercon 23 with college friend Francesca Bewer

Funny how July seemed so far away at one point... These are the panels I'll be on at Readercon (Burlington, Mass.) from July 11 through 14. Now that you know where to find me, stop by and say hello!

Thursday July 11

9:00 PM  Apocalypse Then. Leah Bobet, Maureen F. McHugh, James Morrow, Romie Stott (moderator), Sabrina Vourvoulias. In a 2012 interview published in the Boston Review, Junot Díaz told Paula Moya, "I always say if people [in the Dominican Republic] know about anything they know about the end of the world. We are after all the eschaton that divided the Old World from the New." In this sense many worlds have ended, with a bang or a whimper. What can authors of post-apocalyptic stories learn from past apocalypses like the 1994 Rwandan genocide or the fall of Imperial Rome, and why are there so few works that present real-world events in this light?

Friday July 12
 

With Daniel José Older at Crossed Genres reading  Readercon 23

Latino Speculative Fiction Writers Collective Group Reading. Daniel José Older, Julia Rios, Sabrina Vourvoulias. Latino speculative fiction writers will read from their work.
11:00 AM 

12:00 PM  Writing Others I: Theory. Michael J. DeLuca, Andrea Hairston, Rose Lemberg, Maureen F. McHugh, Daniel José Older, Joan Slonczewski (leader), Sabrina Vourvoulias. Authors who want to write outside their own experiences of race, ethnicity, culture, gender, and sexuality face a multitude of challenges. How do we present each character's unique perspective while celebrating their distinctive identity and avoiding stereotypes and appropriation? How is the research and writing process affected by differences between the author's and the character's levels of societal privilege? Is it possible to write about future diversity without oppression, or does today's reality require us to write in today's frame? Which authors have handled this well, and what form does "handling this well" take?

3:00 PM  What the Other Sees as Other. Barbara Krasnoff (moderator), Maureen F. McHugh, Julia Rios, Vandana Singh, Sabrina Vourvoulias. Maureen F. McHugh gets us so deeply into a character's head that while the character may be "other" to the reader, what really registers as "other" are the people who are "other" to the character. For example, in McHugh's short story "Special Economics," otherness is not about being Chinese, because all the characters are Chinese and in China; it's about being old, having ideas that are no longer current or relevant. We'll discuss this and other (ahem) examples of the depiction of otherness.

7:00 PM Sociolinguistics and SF/F. John Chu, Rose Lemberg (leader), Alex Dally MacFarlane, Anil Menon, Sabrina Vourvoulias. Sociolinguistics studies the ways in which language intersects with society. It looks at issues such as interactions of language with power, prestige, gender, hegemony, and literacy, bilingualism and multilingualism, translation, language birth, and language death to name but a few. We will look specifically at the kinds of tensions that are created in societies where people speak different languages or dialects depending on social and racial/ethnic status. We will also discuss genre books in which those topics have been explored, and consider sociolinguistics tools and concepts that may be useful to writers.

Saturday July 13

12:00 PM Friendship Is Magic. E.C. Ambrose, Rose Lemberg, Kathryn Morrow (leader), JoSelle Vanderhooft, Sabrina Vourvoulias. Heroes have friends and companions, while villains only have minions. Stern protagonists can be softened by romantic attachments that draw them back into the community, but the plot also requires that they be special, isolated by some terrible burden of privilege or unshareable secret. Loner stories are episodic (the gunslinger rides off to the next town, the gumshoe slouches off to the next case) while going from solitude to connection is perhaps the most common character development. This panel will examine how cultural narratives and values around heroism, personal development, sex and gender, class, family, and community affect the ways we write and read about being alone and being connected.

Reading: Sabrina Vourvoulias. Reading from my novel Ink.
6:30 PM

7:00 PM Women's Bodies, Women's Power. Athena Andreadis (leader), Alex Dally MacFarlane, Kate Nepveu, Vandana Singh, Sabrina Vourvoulias. In many times and places, cisgender girls and women have been evaluated by their bodies, including their choice of dress, sexual behavior, virginity, and fertility. Juxtaposed with this are the mystification and taboos surrounding menstruation, pregnancy, and menopause. This outlook has migrated wholesale into speculative literature. It's still standard fare in fantasy for women to lose (or be thought to lose) any extranormal powers they possess when they first have penetrative sex, menstruate, or become pregnant, from André Norton's Witchworld adepts to Zamia in Saladin Ahmed's Throne of the Crescent Moon. Athena Andreadis will explore the tropes and assumptions around this issue, including variants applied to trans* and non-binary characters.

Sunday July 14

10:00 AM Gender and Power in Literature and Life. E.C. Ambrose, Cathy Butler, Eileen Gunn, Rose Lemberg, Daniel José Older (leader), Sabrina Vourvoulias. This workshop, led by Daniel José Older, is a critical look at different ways that gender and power shape our realities and experiences of the world. With examples from the writing process and fantastical literature in particular, we will deconstruct dynamics of power and privilege on the gender spectrum.

9:00 AM Enclaves and Conclaves: Subsocietal Safe Spaces. Gwendolyn Clare, Shira Daemon, Resa Nelson (leader), John Shirley, Sabrina Vourvoulias. People often form societies of commonality to act as safe spaces: LGBT community centers, religious social groups, Girl Scouts, D&D campaigns, speculative literature conventions. We rarely see this sort of sub-societal safe space in speculative fiction, finding instead more tangible safe spaces of domed cities, post-apocalyptic enclaves, or rails over a dangerous earth; and often, in fiction, the perimeter is breached. What does this say about our perceptions of safety and danger, our establishment and perpetuation of in-groups and out-groups, and our ambivalence toward purported utopias?

Kay Holt and Bart Leib at Readercon 23

There are lots of great panels and readings I look forward to attending — you should check out the full program  and some of the amazing people scheduled to take part. The other thing I learned at my first Readercon last year ... the bookshop is a fantastic (and financially dangerous) place to frequent. If you are there, stop by the Crossed Genres table, where INK and many other books will be available. Plus, Bart Leib and Kay Holt are fun to hang out with.

See you soon in Burlington!

SF Squeecast, the Skiffy and Fanty Show and the Outer Alliance podcasts

Who knew that podcasts would be one of the best ways to hear about books you might want to read?

I've recently discovered three podcasts that do that (and more), each in quite distinct ways. Truthfully, I discovered them because they've each provided a mention of my novel, INK, in one of their podcasts, but I've stayed because they've already augmented my "to be read" list.

SF Squeecast - brings together four or five SFF writers to talk about books, films and TV shows that have caught their attention. In episode 18 "You can't put your finger there"  you can hear author Elizabeth Bear talk about INK; along with Paul Cornell on the British TV show Quatermass; Seanan McGuire on the U.S. TV show Mockingbird Lane, Lynne M. Thomas' take on Love and Romanpunk by Tansy Rayner Roberts; and Catherynne M. Valente's delight in the novel Seaward by Susan Cooper. As you can see, it's a nice combination of very recent and classic SFF, and the discussion is in-depth enough to really make you want to read (or watch) the works discussed.

The Skiffy and Fanty Show - Shaun Duke and company deconstruct films, subgenres, the writer's process, anything and everything. In the interview with me, Episode 117, Shaun and Paul Weimer asked questions that were, for the most part, so out of the norm no one had yet asked them of me. So we delve into translation, for example, and the ways poetry, journalism and fiction intersect. There is a charming informality about the Skiffy and Fanty show podcasts, underpinned by intellectual and academic engagement, and a truly encyclopedic knowledge of the SFF genre. Plus, when they interview writers they give them nicknames. For future reference I am Sabrina Vourvoulias, a.k.a. the Octopus (hence the image on this post) because the book I issued is titled INK. They've recently interviewed writers Jay Kristoff and Cat Rambo, and it is worthwhile to trawl the archives. I really enjoyed an interview they did with Tobias Buckell (a.k.a. Captain Planet) in February.

Outer Alliance podcast - The Outer Alliance is a group of SFF writers who have come together as allies for the advocacy of LGBT issues in literature. The podcast is only one of many ways they focus attention on LGBT issues in SFF. Julia Rios conducts the podcast interviews, and she has something of the quality of NPR's Terry Gross — if Gross focused on SFF, diversity and representation in literature, that is. My first listen to the podcast was OA Podcast #23, which was an interview with Bart Leib and Kay Holt, the publishers of Crossed Genres (who published INK), which delved into their philosophy of publishing, among many other topics. In addition to interviews with writers like Elizabeth Hand and Tansy Rayner Roberts, Outer Alliance has conducted some fascinating topic-centered podcasts of panels at SFF conventions, like the "Heteronormativity in YA Dystopians" panel from WisCon and a "Changing the Conversation" program recorded at WorldCon.

If you listen through the end of the Skiffy and Fanty show podcast, you'll hear Shaun and Paul and I discuss one of the great advantages of indie bookstores — the way an informed bookseller can guide you to books you haven't heard about but that dovetail with your preferences, or even blow your preferences wide open. No algorithm on Amazon or Goodreads that picks "you might also like" suggestions can do what that informed bookseller in love with genre literature can. But I'm convinced that the sorts of genre-centered, literary podcasts I've highlighted here are as close to the virtual equivalent of that informed bookseller as you can get, and as such they perform a very, very valuable service to the genre and to us individually as readers and writers.

SF Squeecast, the Skiffy and Fanty Show and Outer Alliance are the three I've found, but I'm sure there are other podcasts out there worth discovering. Leave me links to the ones you like (and why) in the comment section.

So your book has a cover ... now what?

I am both the most and least patient of people.

The patient part was the part that wrote my novel. Every night after dinner was done and my family had gone to sleep, I’d sit down at the old laptop and figure out where the characters were taking me, then I’d get lost in words for the next three or four hours. Sometimes I’d write clear through the night until it was time to get my daughter’s lunch packed for school and myself ready for another day of work. Weekends were occasionally writing marathons, with breaks built in for the stuff of living. I didn’t rush — the characters’ lives unfolded at their own pace — and it took me a long time to get to the point where I understood it was time to let them find closure.

I’ve since learned that many writers produce not one but several novels in the time it had taken me to get to this winding down stage.

I think because I’ve worked at newspapers most of my life, this leisured pace — so far removed from hard deadlines and words turned in a few hours to article or editorial — made patience easy.

But it’s also what’s made what has come after the novel was finished so blasted trying.

With newspapers, your articles and editorials are poured onto the page instants after the edit is done, you see how the finished product will look minutes before you load it onto the printer’s ftp site, and the next morning, there it is, hot off the presses. No delayed gratification — just words in column widths on newsprint and someone telling you how much they loved or hated your editorial, thank you very much.

From waiting for my beta-readers to finish reading the manuscript to edits to galleys, this first-novel-in-the-making has been a test of patience. And now, I have a cover. And an ISBN number.

It feels like the novel is almost ready to see the light of day, but of course it isn’t. It doesn’t launch until Oct. 15 and between now and then there are who knows how many steps until I actually arrive at that  “hot off the presses” experience.

I think the level and consistency of my impatience amuses my editor/publisher — at least I hope it amuses more than irritates him. As self-protection against the bite of my impatience, I design book cards, make lists of the people I’ll send reading copies to, plan publicity pieces newspaper editors like me glance at to decide whether we’ll pass the book on to a reviewer or simply add it to the stack of books we’ll never find the time to get to.

And so I wonder how writers with multiple books to their name do it. I’m asking you, like a younger sibling hoping the older will have wisdom to share: How do you live in this in-between time?

In the interim, of course, I’m writing. Weekly columns and editorials, poems and short stories and novellas, but it’s not quite the same thing as a novel. No patience required, you see.

Meet the editor of INK

Want to get the much more readable PDF version of this newsletter? Email me at svourvoulias(at)yahoo(dot)com

Want to get the much more readable PDF version of this newsletter? Email me at svourvoulias(at)yahoo(dot)com

Want to get the much more readable PDF version of this newsletter? Email me at svourvoulias(at)yahoo(dot)com

Good people, good books, good kickstarter

Sign up for giveaway of advanced reading copy of Fat Girl in a Strange Land

Crossed Genres Publications is offering three advanced reading copies of the anthology Fat Girl in a Strange Land, which has my story "La Gorda and the City of Silver" in it, to the winners of CGP's giveaway on Goodreads. But you have to be quick because the giveaway closes Jan. 14.

I've signed up for the giveaway, not so much because I'm cheap (though I have been known to exhibit those tendencies every so often) but because early reviews have excited my curiosity about many of other stories in the anthology. (For some idea of the range of stories take a peek at Lillian Cohen-Moore's review of the anthology, which you can read here. A much briefer Publishers Weekly review is here.)

If you are interested in the genesis of the anthology read Bart Leib's blog post about it here. (Along with Kay T. Holt, Leib is editor of the anthology and publisher of CGP). You can also chat with him tonight (Wed., Jan. 11) at the weekly Science Fiction and Fantasy Writers Chat on twitter. Use the hashtag #sffwrtcht to participate.

If you are interested in how I came to be included in this anthology, check out my earlier blog post: Unabashed fat.

A subversion of stories

I love collective nouns: a parliament of owls, a murder of crows, an exaltation of larks. The provenance of some collective nouns are easy to figure, others less so. With their mythic ties to Athena, the ancient Greek goddess of wisdom, I can guess how a group of owls became a parliament. But a murder of crows? They aren’t birds of prey -- those lethally efficient killers of the bird world -- just scavengers. Still, in spite of -- or maybe because of -- the horrific meaning of the word murder, this collective noun is one of the most memorable. Easy to remember. Evocative.

 

Which is all background for my intended use of this collective noun for stories: a subversion.

 

Yeah, the word means to overthrow, to ruin and destroy. Not nice words -- as dark, sometimes, as murder -- and not what most writers would choose to describe the painstaking product of their craft. But it fits. Stories supplant and turn things upside down -- even the gentlest and quietest stories. Stories change what we experience (or imagine experiencing) by replacing the felt, the seen, the smelled, the heard, the sensed, the remembered and the said, with a whole new governing system: the written word.

Is there anything more dangerous, more utterly transformative? Not for nothing has literacy (and access to the printed word) long been considered foundational to freedom and the best proof against repression.

Which brings me to the specific subversion of stories I want to write about today.

Crossed Genres Publications (which, I’ll disclose, published one of my short stories a year ago and is slated to publish another story and a novel in the future) is releasing an anthology of short stories tomorrow (Dec. 5). “Subversion - Science Fiction and Fantasy tales of subverting the norm,” and each of its 16 stories, subverts in multiple ways. First and foremost, of course, they are stories. But they are also stories in an already subversive genre (what could be more subversive than swapping our world for another?) and filled with acts of subversion, both large and small. One of the stories even subverts the notion of subversion.

Pretty interesting stuff.

A number of the people included in the anthology are writers whose work I already search out: Daniel José Older, Kelly Jennings, Cat Rambo. Others were discoveries.

Camille Alexa was one of those. Her “And All Its Truths” is a story about a nameless person given up for dead in a prison on another world; a compassionate religious sister; and an act of sabotage worthy (and reminiscent) of the partisans during WWII. Alexa’s story is more Roberto Rossellini than George Lucas, and its images and characters linger long after the story is done. I liked this piece so much I hesitated before reading the rest of the anthology. There have been anthologies that I remember only for one story, good or bad (such as the anthology that contained Geoff Ryman’s “Pol Pot’s Beautiful Daughter”), and I really didn’t want this anthology to be that way.

I shouldn’t have worried.

I’d already read one of Barbara Krasnoff’s smart and well-crafted stories before I started “The Red Dybbuk” in this anthology, so I was predisposed to like it. Like Alexa’s story, there are traditionally understood acts of subversion in Krasnoff’s story about four generations of Jewish women. But beneath the familiar forms of activism is a much more subtle upending of legend and family dynamic. Krasnoff’s writing reminds me just a tiny bit of Grace Paley’s, mostly because the characters are rich and complicated and I’m convinced they have lives off the page as well as on it.

I hadn’t read any of Natania Barron’s stories before I cracked “Pushing paper in Hartleigh,” but now I’m thinking I’ll have to search out the rest of her work. The story is a weird and delightful combination of Western and semi-Elizabethan, in plot, world and character. Though this story, too, has a recognizable act of subversion in the storyline, its real subversion may be that it dares to invite inimical tropes to the party and gets them to play perfectly together. 

Kay Holt’s “Parent Hack” hides subversion within subversion within subversion. In best Sci Fi tradition it takes real world issues -- in this case, absent parents and the shortfalls of the foster care system -- and reimagines them in a future context. The protagonists are two children who want to be brothers, three bots (two of them parent substitutes and a hacker bot) as well as a flesh-and-blood hacker -- and they’re all clandestinely overturning systems, be those code, expectation or actual institution. What’s particularly noteworthy in Holt’s piece is that despite its economy, the characters feel fleshed out, and are intriguingly complex. Worthy of a novel, in fact.

Jean Johnson’s deeply cynical and seamlessly written “The Hero Identity” is, for me, the most distressing of the stories in Subversion. That’s quite a feat in a book whose stories don’t shy away from showing the cruelties we (and our human proxies) visit upon each other. “The Hero Identity” is the subvert-the-subversion story I referred to earlier, and its inclusion in the anthology is sheer brilliance on editor Bart Leib's part. I can’t call this story my favorite -- to borrow a Gollum-ism, it’s tricksy -- but, boy howdy, do I admire its smarts and its skill.

I didn’t want to write about Shanna Germain’s story, “Seed.” Really, I didn’t. This story has the most repugnant of the many cruelties that prompt protagonists to subversive action in this collection of stories. But the thing is, Germain’s a terrific writer. Food, eroticism, cultural disjuncture, something a hair shy of femicide, the promise of revenge -- it’s all in “Seed” and its all laid out with consummate skill. Like Alexa’s story but far more disturbing, this one stays with you long after you’ve come to its close.

Newspaper folks like me know all about shared bylines on articles. It’s easy to do separate interviews and research and pull it into a seamless news story. But how does it work in short fiction? I don’t know -- I’m really asking RJ Astruc and Deirdre Murphy, who together wrote “Scrapheap Angel” for Subversion. This is one of my favorite stories in the anthology, what with its tyranny of depersonalization so well and completely drawn. There’s a lovely irony in Astruc and Murphy’s subversive act, and a gentle goofiness to it. You can’t help but root for it to succeed.

I read Subversion in epub form, but I have to admit, I would have preferred a print copy because -- no matter what the Who song says -- when it comes to this, the new “boss” is definitely not the old “boss.” I miss the feel of paper, the skipping around and the revisits that, for me, are more likely on the page than on the screen.

I know, I know, it makes me a downright unsubversive reader.  I can live with that. Now, if only I could come up with a collective noun ….

Subversion includes stories by: Jessica Reisman, Camille Alexa, Melissa S. Green, Daniel José Older, Kelly Jennings, Barbara Krasnoff, Natania Barron, Kay T. Holt, Jean Johnson, Cat Rambo, Shanna Germain, RJ Astruc and Deirdre Murphy, C.A. Young, Wendy N. Wagner, Timothy T. Murphy and Caleb Jordan Schulz. Click  here for its Goodreads listing and here for its Amazon listing.