I myself have a cat sleeping on my head in Habitica. And in real life, a dog the size of a cat who would like to be sitting on my body, whenever he sits.
Another dog who doesn't see why it shouldn't get cat privileges: https://www.instagram.com/p/BF5QWB8Po-
Every spring I think about starting a gardening blog. I never do, because I don't have the energy, but every year I think about it. I take a lot of pictures of my garden but they are not the kind of pictures that are interesting to people who don't garden. Still, now that DW has image hosting, I think about how easy it would be to blog about gardening here. Would you be interested?
We're not actually sure how Starfleet funds anything, but what are some viable, functional alternatives to capitalism that *are* well explained in SF&F? And how do societies using them interact with capitalist societies?
One of the panels I was worried about has acquired other panelists, one has not. So, even though I am just the freelance moderator, I've got to prepare thoroughly for this one. Do you have any suggestions for SF that examines alternatives to capitalism?
Do you think Iain Banks's Culture belongs in this panel, or is it so post-capitalism that doesn't make sense to call it an alternative?
Also, I have five pink and five black "Fight Fascism" stickers, from here: https://studentactivism.net/ If you are going to Wiscon, and you would like one, call dibs here.
Regency Buck, by Georgette Heyer. Comfort read, as a reward for having done the tax returns. This one has Beau Brummell, Brighton, dueling, racing, cockfighting, a murder plot, a love interest who is so entirely superior to everyone that he treats them as chess pieces, and a young woman who does not care to be controlled, until she kind of does.
• What did you recently finish reading?
Bitch Planet, by Kelly Sue Deconnick. So good! My favorite part was when Penny demonstrates that her ideal self has nothing to do with prioritizing how others see her. Even in this world, that is a mighty feat for a woman.
• What do you think you’ll read next?
Don't know! Still have 25 items checked out from the library, and four holds to pick up when I return any of these.
If you tried to schedule a second import while the first one was still running, at any time in the past 10 days or so, you may have confused the poor thing. If you think your import should be finished by now and it isn't, and you're seeing "Aborted" on the Importer Status part of the Importer page, feel free to open a support request in the Importer category and we'll look into it for you. (It may take a little bit before you get a response; those of us who have the access to look into importer problems have been really busy for the past two weeks or so, and I at least need a few days to catch my breath a bit before diving back into the fray! But we'll do what we can.)
I hope all y'all are continuing to settle in well to your new home!
I saw your ghost today.
It was unexpected, both in time and place. I walked into the gym, as I do most Wednesday nights, and there you were. Or, rather, there she was. She had your build, your hair, and she was talking to the women at the desk when I walked in and I stopped, shocked. And then she turned. Oh, it wasn't your face she was wearing, but it was close enough that she could have been your sister. The shape of her face was the same as yours. Her eyes, the same color. The chin, close enough. Her smile was different than yours, though. And her voice, also not yours. I don't know who she is. I never saw her before. But for that one instant, she was you.
I saw your ghost today.
I knew, intellectually, that you couldn't be here, that you wouldn't be here. You'd have no reason to be here. You're far, far away, safely at a distance. But for that one instant, before my head could speak, my heart twisted into knots. The anger, the fear, the hurt. Watching something I cared for stripped away from me. Not taken by you, no, but taken by you all the same. The image stayed with me all through the gym. Each time I looked up from the rower, each time my gaze went the wrong way in the mirror, there was your ghost, as if to say, "You will never be free."
I saw your ghost today.
I've been at peace since then. You've never come up, not once, and time, like Omar Khayyam's moving finger, moves on. But deep down, deeper than even I knew, I still want to scream at it all. I want the ghosts to leave me in peace. I want your ghost to fade back to the distance where I left it, among the shadows and shades of the past.
I saw your ghost today.
Let it stay at rest.
So, Best Editor, Long Form. I’ve been hearing a lot about this category this year. Honestly, when I’m wearing my reader hat, it’s a category I don’t often vote in because I have no idea what any of the editors have done unless someone’s told me. I’ve also noticed it’s a category that tends to be on the low end of the nominating ballot numbers, probably for similar reasons. If you are an industry professional or pay close attention, you can probably make some informed decisions. Otherwise, it’s a big shrug.
(The conspiracy theories that spring up around this category, by the way, are impressive for their baroque twists and utter venom. It’s one hell of a rabbit hole.)
I also think it’s unlikely for Best Editor to get dropped as a category any time soon, since there’s been pretty strong support for it in the WSFS meeting every time it’s been brought up.
And no, Best Novel doesn’t really act as an award for editors. The editor’s name doesn’t get put on the nomination, and the editor sure ain’t the one who picks up the little rocket statue if they win and give a speech. We generally only hear about who edited a novel if the author thanks their editor or the editor mentions it later.
I think the easiest way to make the category more accessible to the people voting (if not people nominating) is if the finalists for Best Editor, Long Form had the titles for two or three of the books they edited that were released in the last year listed by their name. Because of course, the weird thing about being an editor is that probably what they were working on during the nominating period isn’t even out yet, and certainly isn’t the reason anyone nominated them. Thank the lag time in publishing for that one.
I also think it’d be a good idea if the finalists for Best Editor, Short Form had the title of their magazine or anthology by their name. For some reason, I thought this was already the case until I double checked. Probably because short form editors tend to be much more easily identifiable with their publication, be it a magazine or anthology. And I would argue that giving an award to a magazine or anthology is a bit different from giving it particularly to the editor; when you’re putting an award on a magazine as a whole, that’s not just the head editor, it’s really an award for the entire team, down to the slush readers and whoever does the ebook layout conversion. Sort of like the difference between a Best Director award and Best Picture award.
I’ve also heard it proposed that we should have some kind of “before and after” work example for the editors, but I don’t think that would quite work. A big part of the editing job is acquiring the work to begin with—seeing something that they think readers will love and often fighting to get it published. To a certain extent, we’re awarding the editors for having good taste and finding things for us to read.
Because this isn’t “best copy editor.” A before and after wouldn’t be a few pages of a word document with a bunch of tracked changes. For example, if you wanted some kind of before and after of my own novel (Hunger Makes the Wolf) what you’d end up with is two complete versions of the novel to compare, plus a set of notes that I took off an editing phone call—and to be honest, as a writer I would not feel terribly comfortable with people being given those things for several reasons.
So I think the best way to make the category more accessible and meaningful would be to at least link the names of the editors with examples of what they’ve edited. Preferably, what they feel are the titles that best exemplify their work that got published in the last year. (In an ideal situation that would mirror the Best Director idea, they’d be getting the nod for a specific piece of work – but since it can be rather difficult for readers to find out who edited a book depending on how the publisher does the front matter and what the writer said in the acknowledgments, that might be too big of an ask.) That would at least give us context and stop Best Editor, Long Form from becoming something of a name recognition contest.
Thoughts? If this sounds like a workable or useful idea, I’d be happy to work up a proposal on it and seek a cosponsor.
I’m also still trying to figure out some kind of workable solution for smaller films that get released at festivals, but don’t have a wide theatrical release until the next year, which really screws up their eligibility…
It was the story of the new UN Secretary General, and how she (I think?) coped with the super villain / mad scientists claiming they were going to destroy the world. There were two villains in the story - one that she coped with, and another merely mentioned at the very end. She pointed out to the first one that 'this isn't science - where's your control group?', and convinced him to start a colony on Mars for the control group.
The implication was that she was going to convince all the super villain / mad scientists to fund/create something that the UN was trying to make happen, but didn't have the money for.
My GoogleFu is failing trying to find it. :-( Anyone recognize it, and have a pointer / title / author?
The days of filling panels that need panelists are here! If you are willing to be on a panel, and confident that you're better than nothing, please go there^ and volunteer!
I always volunteer as a freelance moderator, so I always get the neediest panels, but this year is worse: two of my panels have one other panelist, which means they have exactly one person who has anything to say on the topic. I always prepare things to say, just in case, but I don't think I can prepare well enough to carry half the panel on two topics I know nothing about.