The SFWA Bulletin

In late November, I found out that I’d be acting as Production Editor for a special issue of the SFWA Bulletin, edited by Tansy Rayner Roberts. A little over three months later, the issue is beginning to land in mailboxes, and we have a new editor! But we’re already hard at work on the next issue, a special for the Nebulas. But for anyone who missed out on the news via the SFWA outlets, here’s a little on the new editor, the table of contents for the special edition, and how to obtain a copy of said special edition.

John Klima previously worked at Asimov’s, Analog, and Tor Books before returning to school to earn his Master’s in Library and Information Science. He now works full time as the assistant director of a large public library. John edited and published the Hugo Award-winning genre zine Electric Velocipede from 2001 to 2013. The magazine was also a four-time nominee for the World Fantasy Award and recipient of the Tiptree Honor List for one of its stories. In 2007 Klima edited an anthology of science fiction and fantasy stories based on spelling-bee winning words called Logorrhea: Good Words Make Good Stories. In 2011, Klima edited a reprint anthology of fairytale retellings titled Happily Ever After. He co-edited Glitter & Mayhem with Lynne M. Thomas and Michael Damian Thomas—a 2013 Kickstarter-funded anthology of speculative nightclub stories. He and his family live in the Midwest.

TOC for Issue 204 of the SFWA Bulletin
2 SFWA at Its Core – Susan Forest
3 Editorial
4 Science Fiction on the Front Line – Richard Dansky
7 Social Media & the Solitary Writer – Cat Rambo
10 The SFWA Forum – Susan Forest
10 Volunteering – Dave Klecha
11 Writer Beware – Victoria Strauss
13 Estates Project – Brenda W. Clough & Bud Webster
17 SFWA Operations Manager – Kate Baker
18 Everything Old Is New Again – MCA Hogarth
21 From the Ombudsman – Cynthia Felice
22 Website Redesign & Featured Book – Jeremiah Tolbert
23 Anti-Harassment & Diversity – Jaym Gates
27 Moving to California: The SFWA Bylaws Overhaul & Reincorporation Process – Russell Davis
32 Of Myth & Memory – Sheila Finch
36 SFWA’s MG/YA Group – Jenn Reese
37 50,000 Words Under the Sea – Ari Asercion
40 Copyright Battles & SFWA – Michael Capobianco
43 SFWA Standards for Pay – Jim Fiscus
45 Picking the Right Convention For You – Nancy Holder & Erin Underwood
53 Better Teachers, Better Writers – James Patrick Kelly
59 SFWA Annual Events – Steven H Silver
60 The SFWA NY Reception – Steven H Silver
61 SFWA Reading Series – Merrie Haskell
62 About the Nebulas
64 Interview: E.C. Myers – Tansy Rayner Roberts
Norton Award – Merrie Haskell
67 FROM THE BOARD
President/Vice President/Secretary
From the Treasurer
The Board Members Called “Directors”
74 Apres SFWA, The Deluge – Lynne M Thomas
75 Keep New Friends: Interview Rakunas & Gunn – Rachel Swirsky
78 SFWA Discussion Boards – Cat Rambo
80 Communications – Jaym Gates
IBC About the Cover Artist

For information on subscribing, contributing, or advertising in the Bulletin, please email bulletin@sfwa.org. For information on the Nebula Awards Weekend, May 15-18, in San Jose, CA, please see http://www.sfwa.org/nebula-awards/nebula-weekend/. (Non-SFWA members welcome!)

Flashy Fiction

(I do beg pardon for the short, flashy post. (Haha, get it?) I’m on deadline for 4 nonfiction pieces, and I’m running out of words!)

Flash fiction is hard work. It isn’t for the faint of heart, either. While it seems to be to short stories what speculative-fiction is to literary snobs, flash fiction takes at least as much work as a short story, and far more care.

So why write it?

Aside from its literary value, it is an excellent training tool. Every single word must count, without becoming overblown.

Proper flash isn’t a scene, or a snippet, it’s a micro-story. Beginning, middle and end. Conflict and resolution. Tension and release. Think of it as that twenty-minute snooze on lunch break: you have to go to sleep, sleep, and wake up. None of those things can be missing for a proper nap. (Bonus nap-points for a nice blanket and good dreams.)

Seeing the entire story on one page tightens up plotting, and allows the writer to judge flow and coherency better. It is a good chance to play with style, endings and surprises.

Flash needs depth, as well as beginning, middle and end.

Flash also allows for a higher output. When I started seriously trying to hone my storytelling, I wrote almost nothing but flash. Piece after piece of it, trying to learn how to put words together more clearly, how to raise the stakes and tension. I was able to keep a short turn-around between writing and editing, so I could also see how the drafts changed. (We won’t discuss the fact that I over-corrected and started writing way too lean.)

Besides that? It’s fun. Setting a challenge of a new piece a day stretches muscles. It’s a good warm-up if you’re working on longer pieces, or a way to get out of the all-consuming novel.

So go for it. Have fun. Write mini-myths for your novel, or an event from a character’s past, or the birth of a new species. Push a boundary, take a few minutes to explore the shadows.

Think of it as a tasting menu of fiction: a dozen stories, each with different ingredients, expanding the palate and mind.

Guest Post: The Road to Clarion: Allowing Myself to Say Yes

Haralambi Markov is a Bulgarian fiction writer, blogger and reviewer with a background in Marketing and SEO, who currently operates as a freelance writer. Generally off-kilter, but most pleasant, you can find Markov sitting somewhere with fingers on some sort of keyboard. You can find him rambling at his blog The Alternative Typewriter and on his Twitter at @HaralambiMarkov.


This year, I made a promise to myself that I’ll stop denying myself my dreams. I promised I’d do something crazy. Try my hand at a real adventure. Allow myself to shoot for the big bright stars even if I didn’t have all the coordinates figured out; even if I didn’t know how I’d launch myself in space first.

It was a silent promise made on New Year’s Eve, when so many others like it are being born and then soon forgotten. Yet, where other promises faded, this one took root and didn’t let go. I found myself hungry for doing something for myself. Something that would make me happy rather than play to someone else’s satisfaction and I have nothing but time and ability as I’ve said goodbye to higher education (for now) and the freelancer gig isn’t going that bad.

Enter Clarion, the ability to enroll and the possibility to be accepted.

I didn’t put any serious thought into applying until two weeks ago and I’m going to walk you through my thought process, which at one point led to seriously binge watching TV shows to get my brain to shut up:

“Why not? Wasn’t I published in a couple of great places last year? But how am I going to get there? I don’t have any money. It would be such a waste to put so much effort and then not go at all. I shouldn’t. I really shouldn’t. But I know so many people who went there and urge me to go! I should. Yeah, as if anyone is going to accept me. I didn’t write at all last year. I have nothing to show. I have learned no new skills. I can’t even sell my backlog of finished pieces. Nope. Not going to do. I’ll spend this year writing and I’ll apply next year, ya know. God, but I want to. But I will fail. I’ve failed in just about everything I’ve tried. This will be a glorious failure for everyone I know to learn.

“But, but, but… It’s the VanderMeers, Catherynne Valente, Nora Jemisin and Gregory Frost and Geoff Ryman. Holy fuck… I’d get to meet them. I’d get to discuss my writing for once. Learn so many things. But it might not happen. I’m bilingual. I’m fake. They’ll know. These people WILL know. It probably will never happen. So what? Lots of things never happen. I’ll just do it until I get in or I die in the process.”

That’s actually the most difficult part of the application process for me. Allowing myself to say yes and overcome the mentality that limits me with what’s reasonable and what’s viable and what’s most likely to happen. My life has been about doing what’s right, what’s expected and what’s reasonable. Going to a writer’s resort for six weeks halfway across the world is so far removed from my reality it took so much pushing and mustering courage to actually make the first step.

I’ve just gathered all the critiques for both stories I’m submitting and I really can’t thank my friends who have taken their time and put so much effort to show me how I can be better. It’s empowering to hear people I admire like Angela Slatter, David Edison, Jonathan Wood, Jaym Gates, Natania Barron, Jacques Barcia and Theresa Bazelli say so many positive things about my writing and think I can do it, I can get in.

It’s proof I’m not fake, even though I’ve been discriminated against in the past just because I did not grow up in an English speaking country and therefore my writing is subpar. The road to Clarion is hard on my mind as I find myself wrestling with demons I thought I’d won against, but I’m doing the work. I’m editing my stories, gathering information and hoping for the best.

The Future, Man

I originally posted this as a FB status, but it seemed to hit a note and I wanted to explore and expand on it.

The other day, I read an article about how anything resembling the Enterprise was many years in the future, and for some reason, it’s been bothering me ever since.

History is full of people saying, “Yeah, haha, that can’t happen for another HUNDRED YEARS!”, usually with the result that this impossible tech shows up within the next couple of years. And that was in the beginning of the technological revolution.

For all of our social ills, our scientific problems, and our problematic governments, we’re in an age where we have possibly more potential than ever before. We have people like Elon Musk and even James Cameron, who have big dreams and the money and connections to make it happen. There are pieces of technology that haven’t been utilized to their fullest, and a huge crop, worldwide, of brilliant people looking to build a new piece of the future. The Internet makes it possible for big dreamers to find support networks, resources, and outlets. We have calls for Martian settlers, tests for anti-grav technology, and biotechnology that would make the SF writers of twenty (TWENTY!) years ago green with envy. And they aren’t claims or projects by crackpots, but by leading scientists and entrepreneurs.

Moreover, we have writers–of novels, movies, games, nonfiction–who are positing and contemplating the technical and social aspects of these new developments, creating an incredibly rich environment of possibilities. I believe that one of the biggest aspects of any new development is the understanding of its effect on the world and its users, and with the so-called ‘soft sciences’ like psychology, sociology, and family sciences slowly gaining recognition and respect, there’s a wider outlet for those examinations than ever.

Dr. Michio Kaku’s “Physics of the Future” talks about how futurist predictions are almost always wrong because they look at the trajectory that things are on at the time, and project that into the future, when, in fact, progress happens in leaps and bounds, plateauing for a while and then springing forward with huge strides.

I know I’ve complained in the past that it seemed like SF’s push and imagination had sort of stalled out and gotten left behind, but in the last couple of years, it seems like that is a hurdle that’s been overcome. This is particularly noticeable in short stories, where the industry is seeing an absolute burst of highly-talented authors. (A lot of those award-winners are heading into novel-length fiction now, and I look forward to seeing what they will add to that field.)

It may be that something like the Enterprise is 30 or 50 or 100 years in our future, but I think we have reached a point where we have to be careful in claiming that anything is too impossible, or too far in our future, because announcements are made weekly about new things once only found in SF.

Besides, isn’t it our job to bring the future right to our doorstep?