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The Nebula Awards Weekend, hosted by the Science Fiction/Fantasy* Writers of America, is a true feast for the writer (and lover) of the genre/s*. (There has been much debate about whether Science Fiction properly includes Fantasy, and indeed the name of the organization was changed to be inclusive, but pronouncing SFFWA led to so much inadvertent spitting that the earlier, simpler form is preferred.) One (extremely) notable writer put it this way: “I go to Worldcon or World Fantasy Con for my fans, but I go to the Nebs for myself.” This is where I, too, go to be among professional writers, many of the best living, to attend panels given by the top pros for other pro writers, and generally get a refreshed perspective on what an amazing community this is. You don’t have to be a SFWA member to attend, either.

My weekend started top-of-the-morning on Friday with working registration. I highly recommend this. It’s an excellent way to see your friends (and make new ones) as they check in. In fact, at times, my two stints resembled one prolonged, joyous, and occasionally chaotic reunion. I do not, however, recommend doing two two-hours stints back to back, and if I ever sign up to do that again, please whap me up the side of the head. Fortunately, my co-registrar for the second shift understood the symptoms of my crashing blood sugar, and agreed to hold the fort solo for the remaining quarter-hour, so I ran off to an impromptu lunch part with Beth Meacham, Ann Leckie (who subsequently won the Nebular for Best Novel)., and Dave Smeds. I don’t usually drop a lot of Names of Famous Folk in my reports, but this is an example of the kind of hobnobbing, socializing, and in general feeling-of-one-tribe that goes on at the Nebs.

When finally our tummies were full and our minds easier, I proceeded to one of the perennial dilemmas of the Neb weekend – two simultaneous panels I wanted to attend! I poked my head in on the standing-room-only Business of the Book Trade, heard some fascinating behind-the-scenes info, but couldn’t stand much longer (having been on my feet more than not during my registration stint), so sat down for Writing Workshops: From Alpha to Clarion. And stayed put for Writing About Other Cultures, Real and Imagined (with Amy Thompson, Chaz Brenchley, Nancy Kress, Diana Paxson, Tad Williams, and Juliette Wade – don’t you wish you’d been there? It was even better! And what made it so amazing was to hear how many ways writers of this caliber create their worlds. The result was not intimidating but inspiring.)Read more... )
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For those of you who might be nominating work for the Nebula and Hugo Awards, here are my own offerings:

Novels:

The Children of Kings (withMarion Zimmer Bradley), DAW, 3/13

Collaborators (asDeborah Wheeler), Dragon Moon Press, 5/13

The Seven-PetaledShield, DAW, 6/13

Shannivar, DAW,12/13

Novelette:

“Among Friends” (Quakers, the Underground Railroad, and aslave-catching automaton), F & SF (3-4/13)

Short story:

“The Hero of Abarxia”, WhenThe Hero Comes Home 2, ed. G. Harbowy, Dragon Moon Press

“Pearl of Tears,” Sword& Sorceress 28, ed. E. Waters, MZB Literary Works Trust

deborahjross: (Default)

I didn't take a lot of notes during the panel on Shared Worlds that I was on, for which I expect to be forgiven. It seemed more important to pay attention to what everyone was saying. However, I did scribble down something Robert Silverberg said about collaborations, and it strikes me that every writer who is considering this and aims to build a professional career needs to consider it. When you sell a collaboration (to a publisher, remember this is old-school writing career model) you need to get an advance that is at least twice what you would have gotten individually. 

 

(My own thoughts) -- There are many reasons for embarking on a collaboration (as opposed to a novel that's basically ghost-written, with the senior author's name added for sales shiny-ness). Saving time isn't one of them. A good collaboration is not half the work of a solo novel. It's at least twice.


It behooves us all to pay attention to whether we are good collaborators and if so, under what conditions. Sometimes, what makes us good writers (we're visionaries, we answer only to our inner muses, we are pig-headed and recalcitrant, much like our cats) can make it challenging to Play Nicely With Others. Others of us find inspiration and creative nourishment in the process of working together. With some people -- but not others. Pay attention. Play to your strengths.


Tomorrow, the second day (with better notes, I promise!)

deborahjross: (Default)
This is for SFWA members:

The time for Nebula nominations is rapidly drawing to a close. I'm usually modestly silent at such times, but this year I'd like to draw your attention to Hastur Lord, which came out last January from DAW. Even when Marion was writing them solo, Darkover novels rarely got considered. This one was truly a collaboration, because I worked from a partial manuscript she began in the last year of her life. It explores so many of the themes that were important to her--and are to me! Not just portraying gay/bi relationships as enduring and meaningful, but issues of power, integrity, jealousy, and bigotry. And inclusiveness, understanding, and self-acceptance. All wrapped up in a whopping good story.

One of the most moving and rewarding aspects of publishing this book were the letters I received from gays who'd been in the closet for most or all of their lives and found here a vision of how the would could be if each loving relationship were cherished.

So please consider it when you're filling out your ballot.

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Deborah J. Ross

November 2020

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