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GENIUS

January 29, 2017 at 10:20 pm
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A few posts down you’ll find my Hugo Award ruminations for the Dramatic Presentation categories, where I opine at some length about the best films and television shows I saw last year.

Much as I love SF and fantasy, however, not everything I read or view falls into those categories. I wanted to say a few words about another movie I saw recently, and loved.

It’s a film called GENIUS, a period piece set in the 1930s about the relationship between Maxwell Perkins, the legendary Scribners editor, and his most troubled (and troubling) writer, Thomas Wolfe. (No, not Tom Wolfe, the 60s journalist of THE RIGHT STUFF fame, Thomas Wolfe, the doomed 30s novelist of YOU CAN’T GO HOME AGAIN). Stars Colin Firth and Jude Law, both of whom gave brilliant performances. Scripted by John Logan, directed by Michael Grandage.

GENIUS came and went last year almost unnoticed. It was certainly unnoticed by me, else I would have tried to book it for the Jean Cocteau. But it’s running on HBO right now, so all those who missed it (virtually everyone) now has another chance to see it.

I hope you do. Especially if you’re a writer, or an editor, or have any interest in 20th Century American literature, Thomas Wolfe, Ernest Hemingway, F. Scott Fitzgerald, or Maxwell Perkins.

The movie got very little notice from the world at large, but I loved loved loved it. Maybe because it’s a writer’s movie. The period is wonderfully evoked, the acting is fine, and there’s one ten minute scene in the middle of the movie… from when Wolfe delivers OF TIME AND THE RIVER till when Perkins gets on that train… that I thought was just hilarious, heart-breaking, poetic, painful, and just all-around… blue. A blue that was deeper than blue, a blue such as never before…

Well, let’s just say it was a great scene in a fine movie.

Lots of fine movies came out last year, in our genre and out of it. Many of them have been nominated for various Oscars. GENIUS was not, but if I were in the Academy I would certainly have nominated it. Much I loved ARRIVAL and MOANA and some of the other big movies of 2016, I think GENIUS was my favorite film from last year.

Wild Cards Take Texas

January 27, 2017 at 3:52 pm
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We’re calling the latest Wild Cards volumes the America Triad. First one up was MISSISSIPPI ROLL, which we completed and turned in back in October. Then came LOW CHICAGO, delivered in December. And now comes the third and final book in our cross country tour: TEXAS HOLD ‘EM.

Another one done. The manuscript went off to our editors at Tor yesterday. Hot damn!

The table of contents for this one:
Caroline Spector “Bubbles and the Band Trip”
Max Gladstone “The Secret Life of Rubberband”
William F. Wu “Jade Blossom’s Brew”
Diana Rowland “Beats, Bugs, and Boys”
Walton Simons “Is Nobody Going to San Antone?”
Victor Milan “Dust and the Darkness”
David Anthony Durham “Drop City”

TEXAS HOLD ‘EM is the final book in the America Triad, and the twenty-sixth volume of the overall series… but no, it’s not necessary to have read the first twenty-five to enjoy this one. In fact, it’s not even necessary to have read MISSISSIPPI ROLL and LOW CHICAGO (though we hope you will). The America books are not a triad in the traditional sense, like the ones we have done before; they are more in the nature of three stand-alones, linked thematically rather than by plot. Aside from a couple of double-dippers, each book of the three has a different roster of writers.

The cast in TEXAS HOLD ‘EM includes long time fan favorites like the Amazing Bubbles, Mr. Nobody, and Rustbelt, and brings back a couple of minor players from past books in much bigger roles (Jade Blossom from INSIDE STRAIGHT, the Darkness from SUICIDE KINGS), but you’ll meet a bunch of fun new characters as well. Diana Rowland and Max Gladstone are here making their Wild Cards debuts (Abandon hope, all ye who enter here). I think you’ll love their work as much as I do.

TEXAS HOLD ‘EM is a departure for us in other ways as well. Like the Marvel and DC universes, the Wild Cards universe is huge, and allows for all sorts of different stories. Last summer’s HIGH STAKES was our horror outing, and one of the darkest we have ever done. TEXAS HOLD ‘EM is the other side of the coin; a romp, light-hearted and frenetic, with touchs of screwball comedy.

Which doesn’t mean it was easy. “Dying is easy. Comedy is hard,” someone once said (just who is a matter of dispute).

Look for TEXAS HOLD ‘EM sometime next year. At last word, Tor is slating MISSISSIPPI ROLL for publication in hardcover in the fall of this year, with Chicago and Texas to follow, but we don’t have hard dates for those two yet, but you’ll know when we do.

Meanwhile, we have further Wild Cards books in mind… and that TV series in the works…

Remember, we can’t die yet. We haven’t seen the Jolson Story.

Wild Cards Take Chicago

December 11, 2016 at 1:08 pm
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New York City has been the center of the Wild Cards universe since 1946, when Dr. Tod met Jetboy in the skies over Broadway, and the Takisian xerovirus was unleashed upon the world. It’s past time the Second City got its due. So I am thrilled to report that I’ve just turned in the latest Wild Cards mosaic novel: LOW CHICAGO, set entirely in the city on the lake.

This is the second book in what we’re calling our ‘American Triad’ (MISSISSIPPI ROLL was delivered in October, and we’re still hard at work on TEXAS HOLD’EM), and the twenty-fifth volume of the overall series… but no, it’s not necessary to have read the first twenty-four to enjoy this one.

And it’s a helluva ride, I think. The cast includes old fan favorites like Mr. Nobody, Double Helix, Abigail the Understudy, Golden Boy, Natya, John Fortune, John Nighthawk, Hardhat, and the Sleeper, but some exciting new characters will be on hand as well. Wait till you meet Meathooks, Birdbrain, and Khan.

The table of contents:
John Jos. Miller “A Long Night at the Palmer House”
Kevin Andrew Murphy “Down the Rabbit Hole”
Christopher Rowe “The Motherfucking Apotheosis of Todd Motherfucking Taszycki”
Paul Cornell “A Bit of a Dinosaur”
Marko Kloos “Stripes”
Melinda M. Snodgrass “The Sister in the Streets”
Mary Anne Mohanraj “A Beautiful Facade”
Saladin Ahmed “Meathooks on Ice”

I had a great time editing this one. Hope you’ll all like it as much as I do.

And if you’ve yet to try Wild Cards, the world’s longest-running shared world anthology series (thirty years and counting!)… hey, what are you waiting for!

No publication date for LOW CHICAGO yet, but you’ll know as soon as Tor tells me.

Rolling on the River

October 1, 2016 at 4:07 pm
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The old MAVERICK tv series (one of my childhood favorites) had a great theme song with a line about Maverick “living on jacks and queens.” In the Wild Cards series, we prefer aces and jokers.

And you’ll find plenty of both in MISSISSIPPI ROLL, the latest Wild Cards mosaic novel, which we’ve just completed and delivered to our editors at Tor. This is the first book in what we’re calling our ‘American Triad’ (to be followed, in good time, by LOW CHICAGO and TEXAS HOLD’EM), and the twenty-fourth volume of the overall series… but no, it’s not necessary to have read the first twenty-three to enjoy this one.

The lineup this time out:
Stephen Leigh “In the Shadow of Tall Stacks”
John Jos. Miller “Wingless Angel”
Carrie Vaughn “A Big Break in the Small Time”
Cherie Priest “Death on the Water”
Kevin Andrew Murphy “Find the Lady”
David D. Levine “Under the Arch”

No publication date yet, but you’ll be the first to know as soon as we get the word from Tor.

HIGH STAKES was one of our darkest books, an excursion into Lovecraftian horror. MISSISSIPPI ROLL will have a much lighter tone, but plenty of fun and excitement.

I hope you will enjoy reading it as much as I did editing it.

Behold, The Mighty Editor

March 25, 2016 at 11:07 am
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I have my editor’s hat on today. (It looks just like my writer’s hat, only in a different color). ((No, not really, I am being facetitious. Damn, you guys, don’t take everything I say so literally)).

For the past three weeks, the forty-odd (some very odd) members of the Wild Cards consortium have been submitting story proposals and pitches for the three new WC books from Tor, LOW CHICAGO and MISSISSIPPI ROLL and TEXAS HOLD ‘EM. Last night at midnight was the deadline for pitches.

As usual, we have more proposals than we need. Only eight writers per book. So today is Decision Day, wherein I decide who gets to be in which book, who is out, who gets to double-dip. It is never easy. So many talented writers, so many great characters, so many fun ideas.

But that’s why I get the Big Bucks as editor (that was another joke, yessir, for sure, this is a labor of looooooove).

John Sebastian said it best:

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Wild Cards Times Three

March 16, 2016 at 5:15 pm
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Some exciting news on the WILD CARDS front for fans of the world’s longest running shared world anthology series.

HIGH STAKES will be out later this year, as previously announced. That’s the third and concluding volume in what we’ve come to call our “mean streets and madness” triad, and the twenty-third volume in the overall series (which originally began way way back in 1987). It was also the last new volume under contract to Tor.

But no longer! Wild Cards will fight another day. Tor has just stepped up and signed us for three more originals. This set we will be calling (informally) “the USA Triad.” But it won’t really be a triad, more like three stand-alones, each with its own setting, cast, and tone.

The three new books are:
TEXAS HOLD ‘EM
MISSISSIPPI ROLL
LOW CHICAGO

Details? Sorry. You’ll need to wait for those. The ink on the contracts is not quite dry yet, so we’re just getting up to steam (as in MISSISSIPPI… no, that would be telling).

This much I can tell you. I’ll be editing the new volumes, natch. Melinda Snodgrass will continue as my assistant editor and right hand woman. And we’ll be calling on the madman and wild women of the Wild Cards consortium for stories, as ever. Whenever we begin a new triad and a new contract, however, we like to reach out and recruit a few new writers. Fresh blood is just so tasty, and adding some new characters to the mix always helps to enliven things.

So let me introduce you to our Class of 2016. The newest inmates in the asylum are:
SALADIN AHMED
MAX GLADSTONE
MARKO KLOOS
DIANA ROWLAND

They’re all insanely talented, and they claim they play well with others (we’ll see). And no, I won’t tell you about the new characters they’ve created for us… but we think you’re going to like them.

WILD CARDS! From 1987 to forever….

((And if you have not caught the virus yet, there’s still time. Head over to the Jean Cocteau Bookshop at http://www.jeancocteaubooks.com/ and you’ll find all sorts of signed Wild Cards books on sale, some of them with multiple autographs from editors and writers both).

[[Comments welcome. On Wild Cards only, please. Stay on topic]].

What They Edited, the Third

February 20, 2016 at 7:55 pm
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Returning once more to the Hugo Awards…

In my original post about Best Editor (Long Form), I mentioned the names of a number of very gifted and hard-working editors deserving (IMNSHO, of course) of nomination. Some of the fans commenting on that post, both here and over on FILE 770, said they could not possibly vote for any of them — or for any editor, actually — without knowing what titles each of them had edited during the awards year.

So I asked them.

Some have replied. Downstream of this, you’ll find a list of the books edited last year by Anne Lesley Groell of Bantam Specta, Diana Pho of Tor, and Jane Johnson of HarperCollins Voyager. And today I have a response from an editor who was NOT mentioned in my original post, but should have been: JOE MONTI of Saga Press.

Saga, for those who do not follow the ins and outs of publishing closely, is the new science fiction imprint of Simon & Schuster/ Pocket Books. S&S, of course, is one of publishing’s Big Five, a major major house with a long and storied history, but they have not had much presence in our genre since David G. Hartwell’s prestigious Timescape imprint folded a few decades back. The return of S&S to SF was one of the big publishing stories of recent years, and a very good thing for our field. It says a lot for Joe Monti’s skills that he was the guy S&S chose to launch Saga and go head to head with Tor, Bantam Spectra, Del Rey, DAW, Baen, and the other long-established SF imprints.

And so far, I think, he’s done a hell of a job. But you can judge that for yourself. When I wrote Joe and asked what books he’d edited last year, he replied:

“As for this, I sat on it a bit as I wasn’t sure if I deserved to be mentioned, but I will play along… I edited and acquired a lot in my inaugural year for Saga Press! I really was scrambling to present a full list, along with my fellow editorial conspirator Navah Wolfe, to showcase the kind of books I hope to publish and a sense of my tastes.

“One author I snapped up in a pre-empt in my first days: The great Ken Liu. Some were through previous relationships I had as an agent, a friend, others were just serendipity like The Gospel of Loki and Lagoon, which I saw on publisher rights list and ran screaming after. They are, in loose order of publication:

The Darkside War by the enigmatic Zachary Brown
The Grace of Kings by Ken Liu
The Gospel of Loki by Joanne M. Harris
Cold Iron by Stina Leicht
Lagoon by Nnedi Okorafor
Loosed Upon the World: the Saga Anthology of Climate Fiction, edited by John Joseph Adams
The Red by Linda Nagata
The War Against the Assholes by Sam Munson
The Trials by Linda Nagata (The Red trilogy #2)
Silver on the Road by Laura Anne Gilman
Going Dark by Linda Nagata (The Red trilogy #3)

I also reissued a few excellent books that were previously at other publishers:
Chuck Wendig’s first three Miriam Black novels: Blackbirds, Mockingbird, and The Cormorant (Setting up for books 4, 5, & 6 starting in 2017)
Six-Gun Snow White by Catherynne M. Valente
The November Criminals by Sam Munson

And then I repackaged a few great books from the S&S lists for adult SFF readers:
The Harper Hall trilogy by Anne McCaffrey: Dragonsong, Dragonsinger and Dragondrums; all with new introductions by Tamora Pierce, Naomi Novik and Brandon Sanderson (respectfully)

The Sea of Trolls trilogy by Nancy Farmer: The Sea of Trolls, The Islands of the Blessed, The Land of Silver Apples

The Curse Workers trilogy by Holly Black: White Cat, Red Glove, Black Heart.

PHEW! I am really proud of that list, as they contain a few debuts and all of them reflect authors… stretching their… skills… I really feel lucky to be in my dream job after all this time. That’s why I got the Saga colophon tattoo!”

So there’s another name to consider when you are making those Hugo nominations.

We have a wealth of choices in Best Editor (Long Form) this year. Good editors, who would make worthy winners. Regardless of what the slates chose to do, my own hope is that one of them gets to claim a rocket in Kansas City, to thunderous applause.

What They Edited, Once More

February 13, 2016 at 4:33 pm
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So… as we discussed below, a lot of fans don’t know who to nominate for the Hugo in the two editorial categories because they don’t know who edited what last year. The problem is especially acute in Long Form.

Fair enough. So I went and asked the editors I’d recommended what books they’d edited. We all benefit by being well informed, no?

You’ll find the responses from Jane Johnson (Voyager) and Anne Groell (Bantam Spectra) in my post below. Today I received another answer, from DIANA PHO of Tor.

Diana worked on a LOT of titles last year, but most of them are not scheduled for release until this year or next. (And that includes HIGH STAKES, the latest volume in my Wild Cards series). The only novel on her list to be published in 2015 was LONG BLACK CURL, by Alex Bledsoe. She was also one of the editors at Tor.com, however, and in that capacity she was the editor on “The Two Weddings of Bronwyn Hyatt,” by Alex Bledsoe, from last May. Three other stories she acquired for Tor.com, from Margaret Killjoy, P. Djeli Clark, and Bledsue) will be out in 2016. Diana is also responsible for BEYOND VICTORIANA, a website dedicated to multicultural steampunk (‘this has been my side project for the past seven years,’ she tells me). You can find it here: www.beyondvictoriana.com

Should more editors respond, I will post their credits here as well.

Consider this a Fannish Service Announcement.

What They Edited

February 10, 2016 at 5:45 pm
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My observations about the Best Editor (Long Form) Hugo, which you can read in full several posts down, have drawn some comments here and on FILE 770 from fans who object to my suggestion that this category has become a de facto lifetime achievement award, at least since David G. Hartwell set an example by withdrawing from future consideration after his third win.

The objections seem to take the form of stating emphatically that Best Editor (Long Form) is NOT a lifetime achievement award, it’s not, it’s not, it’s just NOT.

And quite right they are. According to the rules, that is. According to the rules, the award is only supposed to be for the previous year’s editing.

Which is great in theory, and completely wrong in fact. Maybe those who are objecting vote on that basis, but if so, they are a very tiny minority. Given the difficulty of actually knowing who edited what in any particular year, most fans are voting on the basis of lifetime achievement, whether the rules admit that possibility or not. Or are we really supposed to believe that Ginjer Buchanan finally won in 2014 solely on the basis of the books she edited in 2013, that Betsy Wollheim’s win in 2012 was entirely due to her wonderful editing in 2011? If you believe that, there’s a nice bridge in my hometown of Bayonne, New Jersey that you might want to buy. Ginjer and Betsy won their much-deserved rockets in recognition of their long and distinguished careers, careers that spanned decades, during which time they bought and published hundreds of novels, discovered and nurtured dozens of new writers, helped to shape their lines and by extension the field we all love. That’s what got them their rockets, not — as we must assume elsewise — a sudden one-year burst of editorial brilliance.

That being said, however, I do recognize that there are those out there who will never agree to this philosophy. The rules are the rules, they will say, so they will not take career contributions into account, just the previous year.

Okay. We aim to please. So I emailed some of the editors I’d recommended in my original post, and asked them what books they edited last year. And a couple of them have replied.

ANNE LESLEY GROELL of Bantam Spectra and Random House. Besides my own KNIGHT OF THE SEVEN KINGDOMS and the GAME OF THRONES coloring book, Anne also edited FOOL’S QUEST by Robin Hobb, UPROOTED by Naomi Novik, GREEN EARTH by Kim Stanley Robinson (an abridged compilation of three books ALG had edited), BOMBS AWAY by Harry Turtledove, THE DARKLING CHILD by Terry Brooks, “plus a bunch of stuff that will be out this year.”

JANE JOHNSON of HarperCollins Voyager in the UK, in addition to my own releases, was also the editor on THE LIAR’S KEY by Mark Lawrence, FOOL’S QUEST by Robin Hobb (the British edition, obviously), and HALF A WORLD and HALF A WAR by Joe Abercrombie.

So that’s two, for those who want to consider only last year’s work.

So far only those two editors have responded, but if I get more replies, I will post the titles here. Whether you favor the “single year” or “lifetime achievement” approach to this award, I think we can all agree that having some information is to the good.

A Rocket For The Editor, Part Two

February 9, 2016 at 6:47 pm
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For all those who have been waiting for the t’other shoe to drop… I talked about some worthy choices for the Hugo for Best Professional Editor (Long Form) down below, so it behooves me to say a few words about Best Professional Editor (Short Form) as well.

This is the second category that was created when “Best Editor” was split in 2007, but in some ways it feels more like a continuation of the older category. Magazine editors almost always won Best Editor before the split, and of course magazine editors have dominated the new Short Form category as well… though not to the same extent. Anthologists, who were always eligible even before the split but almost never won, have been holding their own in recent years, mostly in the person of the redoubtable Ellen Datlow. Datlow has won Short Form three times since the split. Sheila Williams of ASIMOV’S has won twice, Gordon Van Gelder of THE MAGAZINE OF FANTASY AND SCIENCE FICTION has won twice, and Stanley Schmidt of ANALOG has won once… in his final year of eligibility, after his retirement was announced.

The “usual suspects” syndrome is strong in this category. Since the division, a whole new phalanx of bridesmaids has come forth. Jonathan Strahan, Neil Clarke, and John Joseph Adams have all been nominated multiple times, but none of them has ever taken home a rocket. Unlike Long Form, which has become a de facto lifetime achievement award thanks in large part to the example set by David G. Hartwell, none of the Short Form winners have ever retired themselves from the competition. Of course, some have been retired by, well, retirement… Stan Schmidt and Gordon Van Gelder, for instance, no longer edit ANALOG and F&SF, respectively, and are no longer eligible.

Last year, this was another category completely dominated by the Puppies. All five of the finalists were first-time nominees… which was good. But all five were from the slates, which was not so good. Four of the five were nonetheless legitimate nominees worthy of serious consideration: anthologists Jennifer Brozek and Bryan Thomas Schmidt, Edmund R. Schubert of ORSON SCOTT CARD’S INTERGALACTIC MEDICINE SHOW, and Mike Resnick of GALAXY’S EDGE. (Schubert subsequently withdrew his name from consideration, which was commendable, but he did it too late to be replaced on the ballot).

Conspicuous by their absence from the ballot were a number of past winners and runners-up, including Datlow, Strahan, Adams, Clarke, Williams, Anne Vandermeer, Gardner Dozois, and others, all of them pushed off the ballot by the Puppies. Which made the final ballot a bit of a joke. You’re going to give a Best Editor, Short Form award, but you’re going to exclude the most prominent and distinguished short fiction editors in the field? Sure. That’s like starting the NFL Playoffs by excluding the New England Patriots and Seattle Seahawks on the grounds that they’ve won too much lately. Hey, maybe those teams get eliminated along the way… as they did this year… but you have to at least let them in the tournament. To be the champ, you need to beat the champ… and in our field, the champion short fiction editors are folks named Datlow, Williams, Dozois, etc.

All that being said… the slates, by whatever means, did throw up some legitimate Hugo-worthy nominees in this category last year, though not as many as in Long Form. One of those stood well above the others, IMNSHO. The Hugo really should have gone to MIKE RESNICK. Resnick has a long and distinguished career as an anthologist, one stretching back decades, and while he has plenty of rockets on his mantle at home, and even more crashed upside down rockets on the shirts he wears at worldcon, he had never been recognized for his work as an editor before. In addition, Resnick had founded a new SF magazine, GALAXY’S EDGE; in an age when the older magazines are struggling just to keep going, starting up a new one is a bold act (maybe a little insane) that deserves applause. But even more than that, Resnick has been a mentor to generations of new young writers, featuring them in his anthologies and now his magazine, advising them, nurturing them, teaching them, even collaborating with them. His “writer babies,” I have heard them called. In a way, Resnick is a one-man Clarion. Finding and nurturing new talent is one of an editor’s most important tasks, and Resnick has been doing it, and doing it well, for decades. He got my Hugo vote.

He got a lot of other Hugo votes as well. But not enough to win. As with Long Form, this category went to No Award. The work that the Sad and Rabid Puppies began to wreck this Hugo category was completed by Steve Davidson of AMAZING, Deirdre Saoirse Moen, and the rest of the Nuclear Fans. Resnick was never part of the slates, fwiw. He took no part in the Puppy Wars on either side, preferring to stay above the fray. And he did deserve a Hugo. But guilt by association prevailed, and he was voted down with the rest. A real pity.

((FWIW, at my Hugo Losers Party at Sasquan, I presented an Alfie Award to John Joseph Adams, who had the highest number of nominations of all those pushed off the ballot by the Puppies. And some other folks, whose identity has yet to be revealed, later sent Mike Resnick something called a ‘Jovian Award,’ for having the most votes of those who lost to No Award. Both Adams and Resnick were robbed last year; the former by the Pups, the latter by the Nukes.))

Which brings us to this year. When I hope we do not make the same mistakes. Let us hope that we won’t need more Alfies or Jovians. Let’s give a Hugo to the best short fiction editor in our field.

There’s certainly no lack of worthy candidates. Starting with the magazine editors. SHEILA WILLIAMS is still at ASIMOV’S. At ANALOG we have a new editor, Stan Schmidt’s successor, TREVOR QUACHRI. There’s no new editor at F&SF as well: CHARLES COLEMAN FINLAY. Beyond the Big Three, we have the newer magazines and their editors: NEIL CLARKE of CLARKESWORLD, EDMUND SCHUBERT of ORSON SCOTT CARD’S INTERGALACTIC MEDICINE SHOW, WILLIAM SCHAFER of SUBTERREANEAN, and, yes, MIKE RESNICK of GALAXY’S EDGE.

Oh, and we must not forget the e-magazines. Especially not TOR.COM, which has become one of our field’s most important venues for short fiction. Tor.com has a legion of editors, though, so it’s a little harder to determine which one should be nominated.. if indeed you think the stories they’ve published are Hugo calibre. (Maybe someone from Tor will come and tell us?)

And then there are the anthologists. JOHN JOSEPH ADAMS, last year’s Alfie winner, stands at the forefront of that group, together with ELLEN DATLOW, GARDNER DOZOIS, and JONATHAN STRAHAN. But, hey, there are lot of good anthologies published every year, so plenty of other editors are eligible. It is hard to know who to nominate in Long Form, as we’ve discussed, hard to know who edited what. It is easy in Short Form. What was your favorite magazine? What was the best anthology you read last year? The name of the editor is right there.

Oh… and it would disingenuous of me not to mention that I am eligible for nomination myself in this category, on the basis of OLD VENUS, the original anthology I co-edited with Gardner. Now, I’m very proud of OLD VENUS, and I think there are a number of wonderful stories therein worthy of Hugo recognition that I hope you’ll remember when time comes… but I don’t really regard myself as a serious contender in Short Form. Maybe some other year, when I’ve had several anthologies published… but there was no new Wild Cards book in 2015, so OLD VENUS was my only qualifying work, and I only did half of that. If you really really loved OLD VENUS and think it was worthy of Hugo recognition, well, nominate the stories, and nominate Gardner Dozois… he deserves just as much credit for the book as I do, and he did lots of OTHER editing besides, including his mammoth and long-running BEST OF THE YEAR anthology, the assembly of which is a task that would make lesser men weep.

Gardner Dozois will certainly be on my ballot. So will Mike Resnick, and… some others.

If you agree, you should nominate them as well. If not, nominate someone else.

But nominate.