Hugo nominations need to be in before March 18.
Only a few days left to let your voice be heard.
This is fandom’s own award, the oldest and most prestigious of my myriad awards for science fiction and fantasy… but it is only as important as we make it.
You don’t have to nominate in every category, or fill every slot… but if you’re read any books or stories that you liked last year, or watched any television and film, you should be part of this.
Go ye forth and NOMINATE.
This year a new category has been added to the Hugo Awards: Best Series.
It’s not a permanent category yet. Though the idea behind the category has been discussed at various worldcon business meetings over the years, it has yet to be passed and ratified. But worldcon rules permit each concom to add one category of their own choosing each year, and the Finnish fans decided to add Best Series… rather as an experiment, I guess, to see how well the category might work.
Honestly, I have mixed thoughts about adding Best Series to the Hugos as a permanent new category. Being an old guy, I can remember a time when most science fiction novels were stand-alones. If they were popular enough, they might spawn sequels, but the series novel was the exception rather than the rule. Today the reverse is true. It has become increasingly hard to find a science fiction or fantasy novel that is NOT part of some series.
So do we need a Best Series Hugo? I don’t know. Being part of a series has not stopped the last three Best Novel winners from taking home the rocket, so it is not as if series books are being overlooked. And what is a “series,” actually? The difficulty of defining that term is one of the reasons so many worldcons have spent so long wrangling over it.
All that being said, for this year at least there will be a Hugo for Best Series. And I’d guess that almost all the leading contenders for the Best Novel rocket are ALSO contenders for Best Series (yes, there will be a few exceptions). So the only series that I am going to submit for your consideration is one that will NOT also be competing for The Big One: my own.
No, not that one. A SONG OF ICE & FIRE had no new installment published in 2016, so it’s not eligible. Besides, I don’t consider A SONG OF ICE & FIRE to be a series, not as I define the word (yes, I am aware, the rules define the term more broadly). I consider A SONG OF ICE & FIRE to be one single gigantic story published in multiple volumes. (Seven, I hope). LORD OF THE RINGS was not a series either, nor a trilogy; it was a single novel published in three volumes.
But I do have a series, a true series, one that I’ve been working on even longer than I have ICE & FIRE, one that I am very proud of: WILD CARDS.
You know. This series here:
WILD CARDS is no stranger to Hugo competition. In 1988, when the series was only three books old, the New Orleans worldcon added a new category called “Other Forms,” just as Helsinki has added Best Series, and we were one of the five nominees. We lost to Alan Moore’s landmark graphic novel WATCHMEN, which surprised no one, least of all us… but it WAS an honor just to be nominated, and we had a great time at the Hugo Losers Party afterward.
Alas, “Other Forms” did not survive as a Hugo category, and the Wild Cards books, though they continued to be popular, never fit comfortably into any of the other categories. We called them mosaic novels, and some were indeed six- or seven-way collaborative novels, but they were never going to contend for Best Novel. Other volumes were more akin to anthologies… but the Hugo Awards have never had a ‘Best Anthology’ category (though if truth be told, I’d sooner see them add that than Best Series). I would sometimes get some votes for my editing, but never enough to make the final ballot (one year I finished seventh out of five, as I recall, but that was the closest I came). Individual stories from the books were nominated for awards and one such, Walter Jon Williams “Witness,” was a Nebula finalist. That lost too. Oh, and one year S.P. Somtow presented Wild Cards with his Icarus Award.
I can hardly be objective about WILD CARDS, but I do think we’re worthy of consideration. This year we are celebrating our thirtieth anniversary, a considerable achievement all by itself. All the other shared world series of the 80s are gone, but Wild Cards continues… and I think that most of those who have stuck with us over the years will agree, we’re better than ever. We have entertained millions of readers over those three decades, the books have been published in the UK, France, Italy, Spain, Mexico, Russia, Germany, Brazil (with more countries coming up). WILD CARDS has given birth to two role-playing games, two comic book series (three more graphic novels in the works), and soon, I hope, a television series. We’ve had twenty-three books published to date, three more finished and delivered and in the pipeline for publication in 2017 and 2018, more to come.
But it’s not just longevity. Together with WATCHMEN, WILD CARDS helped redefine the treatment of superpowers and superheroes in popular culture, taking a grittier, more realistic, more adult approach to the subject, with an emphasis on characterization. And with the full mosaics we only dared attempt every third book, we went way beyond any other shared world to create a whole new (and very demanding, I may add) template. And there’s been some cool world-building too, as my team played the alternate world concept central to the series.
We have had ups and downs, of course — hey, with twenty-three books and a couple hundred stories, how not? — but overall, I don’t know many other series that have maintained a similar consistencey of quality over half as many book, and I like to think that when we’ve been good, we’ve been very very good. Especially in those full mosaics: JOKERS WILD, ACE IN THE HOLE/ DEAD MAN’S HAND, DEALER’S CHOICE, BLACK TRUMP, SUICIDE KINGS, HIGH STAKES.
I’ve only been a small part of that, of course. I may the conductor, but I’ve had a hell of a band. Over the decades, I’ve had the honor of working with some truly gifted and innovative writers. Howard Waldrop, Roger Zelazny, Daniel Abraham, Edward Bryant, Stephen Leigh, Victor Milan, Mary Anne Mohanraj, Carrie Vaughn, Laura J. Mixon, Sage Walker, William F. Wu, John Jos. Miller, Lewis Shiner, Cherie Priest, Walton Simons, Caroline Spector, Walter Jon Williams, Michael Cassutt, Paul Cornell, Ian Tregillis, David Anthony Durham, David D. Levine… the list goes on and on… and of course, Melinda M. Snodgrass, who has been my right hand since the start.
And wait till you see the new writers we have in store for you in the books to come, and the characters they’ve created for us. The best, truly, is yet to come.
WILD CARDS. Best Series? That’s up to fandom. If you’ve liked the books, nominate them. But once again let me say that whatever you choose to nominate, you should NOMINATE.
((If you haven’t read any Wild Cards and would like to try a small sample before shelling out for a book, check out the FREE stories on Tor.com)).
Clear skies and tail winds.
Last August the hardcover of HIGH STAKES, the most recent Wild Cards mosaic novel, was released by Tor. We launched the book at MidAmericon II in Kansas City with a huge mass signing sponsored by Rainy Day Books. Most (though not all) of the contributors to HIGH STAKES were on hand, but so were a dozen other Wild Cards writers, even those not in that particular volume. WC fans had a field day, collecting signatures from all the writers present.
Tor also had a video crew on hand, to tape the signing and to interview the writers about their involvement in Wild Cards, and any other projects they might be working on. They got hours of tape, and have been busily splicing and dicing and interweaving snippets of those interviews into a series of short promotional videos. Three of those videos have been released to date, and can be found on our Wild Cards website http://www.wildcardsworld.com/wild-cards-media/ Many more will be coming.
One of the writers interviewed was Edward Bryant.
After we heard about Ed’s death, I contacted Tor to ask them if Ed had been one of the writers they had talked with in Kansas City. I am pleased to say he was, and we can now present his interview to you complete and uninterrupted.
All those who knew and loved him will, I hope, appreciate the opportunity to see and hear from Ed one last time… but I should warn you, there is a bittersweet quality to this tape, in light of what was coming. Sad to say, Ed never did finish that last Wild Cards story he was working on, nor any of the other tales that he hoped to write.
Sooner or later, all of us have to see The Jolson Story. Be that as it may, for one last time, I am honored to present my friend Edward Bryant:
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((My thanks to Patty Garcia, Sheila, and all the good folks at Tor for making this possible)).
Hugo nominations are now open. You will have until mid March to make your nominations… however, if you were not a member of MidAmericon II, you have only today and tomorrow left to sign up for either That Finnish Convention (this year’s worldcon) and/or ConJose II (next year’s worldcon) to earn the right to nominate. Act now, or forever hold your peace.
A few days ago I posted a few recommendations for the two Dramatic Presentation categories. Today I’d like to offer a couple of artists for your consideration, staggering talents who did some outstanding work in 2016, and are more than worthy of nomination.
The first of them is MICHAEL KOMARCK, who has been painting our Wild Cards covers ever since Tor revived the series. He’s done a bunch of other things too… check out his website… and he is doing the artwork for a Wild Cards graphic novel that is just going to blow your mind, but it’s his recent Wild Cards covers that make me want to get up and dance. Here’s some of his recent work.
Komarck has been nominated for the Hugo once before, but has never won. Here’s some of his older Wild Cards covers. Amazing work.
I had the honor to work with another wonderfully talented artist this year as well: the French artist DIDER GRAFFET, who illustrated the 2017 Ice & Fire calendar from Random House.
There’s lots more art in the calendar just as good. Grab and copy and see for yourself.
Of course, SF and fantasy are blessed with all sorts of extraordinary artists, many of whom have been Hugo winners or nominees in years past. John Picacio, Julie Dillon, Donato Giancola, Stephan Martiniere, and many more are worthy of your consideration as well. But any list of recommendations that does not include Komarck and Graffet is woefully incomplete, imnsho.
It’s that time again. Another year has ended, another worldcon is on the horizon (The Finnish Convention, this August, in Helsinki), and nominations are once again open for the Hugo Awards for the best science fiction and fantasy of 2016.
To nominate, you need to be a member of at least one of these three worldcons:
— MidAmericon II, last year’s Kansas City worldcon,
— the current year’s worldcon, in Helsinki,
— the 2018 worldcon, ConJose II, in San Jose, California.
Unless you’ve got a time machine, it’s too late to join MidAmericon II, but signing up for Helsinki and San Jose is easy enough… and the sooner you do it, the less you’ll be spending, since the cost of membership rises as we get nearer to the con. You do NOT have to attend to be able to nominate. Supporting Memberships are also available, at a much lower rate.
To join the Helsinki con, go to:
http://www.worldcon.fi/
To join for San Jose, the address is:
http://www.worldcon76.org/
Join one, join the other, join both. Come if you can, but nominate even if you can’t.
Once you’ve signed up, you will be sent your own personalized link to the nominations page, which will allow you to nominate the books, stories, movies, television shows, artists, fans, and editors whose work most wowed you this past year.
The Hugo Awards were first given in 1953, and remain our field’s most prestigious, important, and meaningful awards. The list of Hugo winners is a Who’s Who in science fiction and fantasy, and you can have a voice in determining which names are added to that distinguished roster besides those of Alfred Bester, Robert A. Heinlein, Isaac Asimov, Roger Zelazny, Ursula K. Le Guin, Jack Vance, Connie Willis, Samuel R. Delany, N.K. Jemisin, James Tiptree Jr, Harlan Ellison, Robert Silverberg, Gardner Dozois, Lois McMaster Bujold, Orson Scott Card, Poul Anderson, Frank Herbert, Anne Leckie, Anne McCaffery, and so many many more.
And yes, come to worldcon if you can. The best place to meet and hang with your favorite writers. Including me…
As I was saying, 2016 was not a great year. It was not even a good year.
But that is not to say that some good things did not happen.
Worldcon is always one of the highlights of the year for me, and has been since I attended my very first in 1971. One of my favorite worldcons of all time was MidAmericon, the Kansas City worldcon in 1976 (you know how up to date they are in Kansas City, they’ve gone about as far as they can go). This year’s worldcon, MidAmericon II, was alas, not even close to that legendary innovative gathering in ’76… but we saw friends, ate barbeque, signed books, enjoyed panels and readings, and had fun in all the ways fans always do when they gather.
In 1976, I lost two Hugo Awards, and held the first Hugo Losers Party in my room (with the help of Gardner Dozois, my fellow loser). That was one of the highlights of the con, beyond a doubt.
As it happens, I reclaimed the Hugo Losers Party last year in Spokane, so I held one once again at Big Mac II. Since my old room in the Muehlebach was no longer available (that whole wing having been demolished in the interim), I rented the Midland Theatre instead and had the bash there. And once again, it was one of my favorite parts of the con.
In 1976, Hugo losers got nothing at the party but a lusty cheer, some cheap booze, and maybe a few cheez puffs. In 2016, however, at least a few of the lucky losers got Alfie Awards. (Which of course did not exist in 1976, since I just made them up last year). They’re made of old hood ornaments (as some early Hugos were), polished and replated by Tyler Eugene Smith.
Turns out most of the 2016 Alfie presentation was recorded, and has now been uploaded to YouTube. So for all of you who were not able to attend the Hugo Losers Party, here ’tis.
(Do note that the early part of my talk, where I explain the awards and talk about Alfie Bester and the first Hugo, is missing).
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Congrats once more to all the Alfie winners… and to losers everywhere.
The highlight of the Hugo Losers Party was our midnight madness: the presentation of this year’s Alfie Awards.
Those who came in late may be wondering — what the hell are the Alfie Awards?
Well, to understand that, it helps to know a bit about Hugo history. The first Hugo Awards were presented in 1953 at the 11th worldcon, in Philadelphia. Alfred Bester won for Best Novel (the big one, then as now) with his soon-to-be-classic THE DEMOLISHED MAN. Fannish legend tells us the first awards were made from Oldsmobile hood ornaments… but that’s not quite true, as it turns out. Maryland fan Jack McKnight made those first awards himself in his machine shop, working all through the con and finishing just in time for the presentation. Which is not to say that the ‘hood ornament’ legend is entirely wrong. Just the date is off. It was the 1956 Hugos that are actually Oldsmobile hood ornaments. Dave Kyle made the awards that year. Kyle presumably lacked McKnight’s machine shop and metal-working skills, so he raided some junkyards for hood ornaments from the 1950 or 1951 Oldsmobile Rocket 88, and screwed them to an upright wooden stand.
Fast forward to 1976, and that first Hugo Loser Party in Kansas City. I have written, below, of how Gardner Dozois acted as a herald/ doorman at that bash, loudly announcing each guest who attempted to enter, and proclaiming them either a winner or a loser. Losers were cheered and welcomed, winners booed and pelted with peanuts, etc. Which leads me to the moment when Alfred Bester himself appeared in the door. “ALFIE BESTER,” Gargoo roared. “You won the FIRST Hugo!!!” Alfie was undeterred. “Yes,” he shouted back, “but it was an Oldsmobile hood ornament, and it’s all pitted and rusted and corroded now!” And the boos changed to cheers, and Alfie entered the party and proceeded to drink us all under the table.
When I decided last year to give some tokens to the writers, fans, and stories who were pushed off the Hugo ballot by the Puppy slates, I decided to call them “Alfies” in Bester’s honor, and of course they had to be made out of old hood ornaments.
Herewith, the Alfie trophies for 2016:
((The old car buffs among you may have some fun figuring out what makes and models supplied the rockets for each of those Alfie trophies. Have at it)).
This was the second time I’ve given out Alfies, which supposedly makes them an ancient and hallowed fannish tradition… though it’s a tradition I would gladly put to rest, if peace, good will, and normalcy should ever return to the Hugo Awards. (We can hope).
Hugo night was a lot less fraught in Kansas City than at Spokane. There were some great and worthy winners, no boos, no walkouts, and only two categories that went to No Award… which is not as good as none, but is certainly better than five. Sad Puppies 4 produced a recommendation list, not a slate, and I applaud them for that. But the Rabids continued to slate, and there were still good people and great work pushed off the ballot by VD and his followers.
Awards… all awards… are at heart no more than a slap on the back, a way of telling someone, “You did good! Great work! Hurrah!” The trophies, however handsome or ugly or controversial, may look nice on a mantle, but they have little intrinsic worth in and of themselves, and the supposed financial gains and career boosts that go to award winners are largely legendary (there are a lot of Oscar-winning actors out there looking for work, boys and girls). Nonetheless, it is nice to win an award. And yes, it’s even nice to be nominated and lose, though it may sting for a moment; that’s what the Hugo Losers Party is all about. Awards should be about joy and celebration, a community applauding its own. That’s certainly what the Hugo Awards were all about, until Puppygate.
Aside from two ‘committee awards’ (I am the ‘committee’), I do not choose the Alfie winners. The fans do, with their nominations. The Alfies go to those who produced outstanding work in 2015, but were denied a spot on the ballot, and thus the chance to compete for the Hugo, by slating.
BEST FANCAST was the first Alfie awarded at the Midland. The award went to TEA AND JEOPARDY, by Emma and Peter Newman, which garnered 212 nominations.
One of my special ‘committee awards’ went to BLACK GATE, which had 461 nominations in the Fanzine category, second among all nominees and good for a place on the ballot. But Black Gate turned down the nomination, just as they did last year, to disassociate themselves from the slates. Turning down one Hugo nomination is hard, turning down two must be agony. Integrity like that deserves recognition, as does Black Gate itself. Editor John O’Neill was on hand to accept the Alfie.
Our Alfie for BEST FAN WRITER went to ALEXANDRA ERIN, whose 213 nominations led all non-slate nominees in this category. (I note that I myself got 103 nominations in the category, good for thirteenth place. What the hell, guys, really? I thank you, but… I know professionals have won in this category before, but I’m really more comfortable leaving the Fan Writer awards for fans).
JOURNEY PLANET, by James Bacon and Christopher J. Garcia, had 108 nominations for BEST FANZINE, and took the Alfie in that category. Have to say, I loved Bacon’s enthusiasm (and he’s the calm, quiet, shy one of the two).
We had a couple of distinguished guest presenters in the next categories. Hugo and Chesley award-winning artist John Picacio joined me on stage to present the Alfie for BEST GRAPHIC STORY to BITCH PLANET VOL 1: EXTRAORDINARY MACHINE, from Kelly Sue DeConnick, Valentine De Landro, Taki Soma, and Robert Wilson, which racked up 271 nominations. And Irene Gallo, the distinguished award-winning art director from Tor Books came up to announce our BEST PROFESSIONAL ARTIST, JULIE DILLON. Julie has won the last two Hugo Awards in this category, and her 244 nominations suggest that she would have had an excellent shot at making it three in a row, if slating had not kept her off the ballot. Instead she gets an Alfie to keep her two Hugos company.
The winner of my second special ‘committee award’ was Liza Groen Trombi and the staff of LOCUS. Once upon a time, LOCUS won the fanzine Hugo almost every year, until the rules were changed to make it ineligible. A new category, Semiprozine, was created. Thereafter LOCUS won that category almost every year… until, once more, the rules were jiggered to make it ineligible. Rules change, but one thing does not: the continued excellence of LOCUS, which remains required reading for anyone who loves science fiction and fantasy.
Of all the categories in this year’s Hugo, the one most adversely affected by the slating was BEST RELATED WORK, where the Hugo finalists consisted of a critical study of the works of Gene Wolfe and some truly reprehensible stuff. A pity, since there was some terrific related works published in 2015, including Adam Whitehead’s history of epic fantasy, Felicia Day’s delightful memoir, and the Alfie winner, with 359 nominations: LETTERS TO TIPTREE, from Alisa Krasnostein and Alexandra Pierce.
The last Alfie of the evening was in the category of BEST SHORT STORY. To present that, the only fiction award, I called upon the winner of one of last year’s special ‘committee’ Alfies, ROBERT SILVERBERG, the only man to have attended every Hugo Awards ceremony… and now, every Alfie ceremony as well.
I had to debate whether to give an Alfie in this category, since the Hugo for Best Short Story had gone to a legitimate nominee, Naomi Kritzer’s delightful “Cat Pictures Please.” (Naomi was sitting next to me during the Hugos, and her excitement when her name was read out reminded me of what these awards are all supposed to be about). “Cat Pictures” was only on the ballot because one of the slated nominees refused his nomination (Thomas Mays, who deserves recognition for that), and lots of other good strong short stories were denied a shot at the ballot. I could not rectify all of that, but I could recognize at least one story that ‘shoulda been a contender.’
The last Alfie of the evening went to ALYSSA WONG, for “Hungry Daughters of Starving Mothers,” which had 253 nominations. Alyssa was there herself to accept.
Congratulations to all the Alfie winners… and to the Hugo winners too, of course.
You did good work, guys and girls.
And that’s what it’s all about, Alfie.
Can it really be September? What the hell happened to August?
Oh, I remember… a week of meetings in LA, a week at worldcon, Bubonicon, house guests and visitors, business meetings… damn…
I wanted to blog about worldcon and the Hugo Awards and the Alfies and an EPIC Hugo Losers Party and the presidential election and HIGH STAKES and a very special week we have planned at the Jean Cocteau and lots of other stuff, and maybe I still will in the days to come, but right at the moment I am too tired. Some of that stuff already seems like ages ago. And I have lots to catch up on.
But it’s been a while, so I thought I should at least say hi, and wave, and let everyone know that I’m still here, back at the old homestead and back at work.
Also, I wanted to give a shout out to Ogre Jenni, who, alas, has left the Jean Cocteau and Fevre River to accept a full-time teaching job. That’s great news for Jenni, and all the kids that she will be teaching in the years to come, but sad news for us. Jenni was terrific, a wonderful member of our crew here, and we miss her lots already. At least she is still in town, so we will get to see her socially from time to time. Fly high, Higginbotham!
Forty years ago, at the first MidAmericon in 1976, the very first Hugo Losers Party was held in my room at the Muehlebach Hotel in Kansas City.
The night before, at the awards ceremony, I had lost two rockets (one to Larry Niven, one to Roger Zelazny, fwiw). The affair began as a modest little party in a modest little room, with some peanuts and cheese curls and whatever booze we had been able to scrounge from other parties. But as fate would have it, my room was next to the pool deck, which allowed us to overflow the confines of my double, which we soon did, to become the loudest, largest, and most memorable party of the con. Gardner Dozois was our ‘herald,’ announcing each guest as they appeared, and naming them either a winner or a loser. Losers were cheered and welcomed, winners were booed and cursed and pelted with peanuts… unless they told a good story about they were really losers. (Which Alfie Bester did most memorably). Thus did that first Losers Party pass into fannish legend.
In the decades that followed, the Hugo Losers Party became a worldcon tradition. Many more great parties were thrown (most notably, I think, the 1981 party in Rusty Hevelin’s suite at Denvention), and eventually the party became somehow ‘official’ and a tradition arose whereby the following year’s worldcon concom threw the bash after every Hugo ceremony. That worked for a while, but gradually the original spirit of the party was lost, as the event became stuffier and duller and more institutional, finally even abandoning the name ‘Hugo Losers Party’ because some sensitive (and irony-impaired) souls did not like being called losers. (Hey, we’re all losers, boys and girls). The nadir was the ‘party’ the Sasquan concom threw at Loncon, which was truly a dismal affair. So last year, at Sasquan, I decided to reclaim the party that Gardner and I had started… but since life (and fandom) have been good to me, I was able to do a little more than we’d been able to do in 1976.
The Sasquan party was a great success, I think. But of course that meant I had to do it again. I mean, how not? This was fortieth anniversary, and we were returning to Kansas City. I did toy for a moment with the idea of trying to book my original 1976 hotel room… and the adjoining pool deck… but, alas, the room, the deck, and the pool itself are all gone, demolished in one of the hotel’s numerous renovations over the past forty years. (The old gorgeous historic Muehlebach still stands, but alas, remained dark and unused throughout Big Mac II, with the con confined to the newer Marriott wing, and the even newer Marriott across the skybridge).
Instead we went two blocks away and rented out the Midland, a gorgeous old 1930s movie palace. I mean, how could I resist? I LOVE old movie theatres, especially the art deco palaces of the 30s and 20s, and the vaudeville houses that preceded them. And the Midland was stunning, as I think all our guests agreed.
Drinks were drunk, barbeque was eated, losers were feted, winners were mocked, Alfies were given (more on those next rock). And when two in the morning rolled round, the band played “Teen Angel” and we all remembered Dave Hartwell, who was sorely missed.
What more is there to say? It was a party to remember, I think. Just like 1976.
It’s August, so it must be time for worldcon. (Truth be told, that sentence should read “It’s Labor Day, so it must be time for worldcon, but that fight may be lost, alas, alas). The annual gathering of the tribes, our fannish family reunion. Time for rockets, time for parties, time for the fannish faithful to gather and howl at the moon.
This year the gathering takes place in Kansas City, Missouri. MidAmericon II. Which just happens to be forty years after MidAmericon I in 1976, the first KC worldcon and (in my not so humble opinion) one of the best worldcons ever, and certainly the most innovative. MAC II has a lot to live up to, but I’m looking forward to a great week.
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All that and world class barbeque too! Burnt ends rule!!!
For those of you who will be attending, here’s my own schedule at the con:
THURSDAY August 18
3:00 pm – 4:30 pm AUTOGRAPHING Convention Center, room 3501H
FRIDAY August 19
12:00 noon – 1:00 pm READING Convention Center, room 3501H
5:00pm – 8:00 pm HIGH STAKES launch and mass Wild Cards signing, Count Basie Ballroom,
Downtown Marriott (ticketed event)
SATURDAY August 20
1:00 pm – 2:30 pm AUTOGRAPHING Convention Center, room 3501H
3:00pm – 5:00pm WILD CARDS Death Matches Convention Center, Tucker Stage
SUNDAY August 21
11:45 am KNIGHT OF THE SEVEN KINGDOMS signing w/ Gary Gianni
dealer’s room, Convention Center
2:00pm – 3:00 pm panel: REMEMBERING BIG MAC I Convention Center, Tucker Stage
Those are my Official Public Appearances.
Mind you, I will be around for the rest of the con as well. You’ll see me at parties, wandering the dealer’s room, enjoying the art shows, popping into other panels, attending the Hugo Awards, drinking at the bar, eating at various local restaurants and barbeque joints. And of course, I’m always glad to say hi. Especially at those parties. Parties are the soul of worldcon.
That being said, I would ask that you do NOT ask me to sign books or pose for photographs at these sorts of chance encounters. I’ve scheduled seven hours for autographing, spread over several days and several venues… the rest of the time I just want to enjoy the con like everyone else.
(A good thing to keep in mind in dealing with ALL your favorite writers, by the way, not just me).
And yes, I will be throwing another Hugo Losers Party. How not? This is the fortieth anniversary of the first one, held in my room at the old Muehlebach Hotel, the night after I lost two Hugos. But I haven’t listed that here since it’s not open to the general public, sorry. Invitation only.
See you in KC. Let’s party like it’s 1976!
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