We interrupt your Worldcon programming to bring you this scheduled reminder from the global pandemic.

Yes, Worldcon is over, and I am back at work. Part of that did involve doing the Wizard’s Tower accounts, but I’ve also had a couple of work-related Zoom meetings and have lots of other work stuff to do this week.

I have also caught up with goings on in the outside world. The rate of new COVID-19 infections in the UK is now showing a clear upward trend. It hasn’t gone into full outbreak mode yet, but it could very easily. I understand that this is very patchy, and concentrated in major urban centres, so I’m not too worried, but equally I don’t think we’ll be getting out of lockdown any time soon.

I’m delighted to report that The Green Man’s Silence is now available for pre-order on Barnes & Noble. Here’s the full list of options.

• Amazon UK
• Amazon US
• Kobo
• 安卓手机shadowsock教程

At the party at Worldcon I was asked if the book would be available for pre-order from the Wizard’s Tower store. The answer is no. There are two main reasons for this. Firstly the additionl e-commerce software needed to do pre-orders is quite expensive, and we are unlikely to do enough business to justify buying it. Secondly sales through the Wizard’s Tower store do not register in publishing industry sales reports. Pre-orders are apparently really important to the bean counters at big publishers who decide which authors they will allow editors to buy from. So to keep Juliet’s name in front of people who can sell far more books for her than I can I want all of the Green Man pre-orders to go through major stores.

Talking of selling large numbers of books, Amazon has decided to put The Green Man’s Foe on sale in the UK for the whole of August. So if you haven’t read book #2 in the series yet, you can pick it up early and get it read before the new one drops.

And given that all this is going on, we have put The Green Man’s Heir on sale in the UK at £1.77 (which is the new £1.99 since VAT on ebooks was zero-rated), just in case there’s anyone out there who doesn’t have a copy.

One of the great social disasters of recent years is that service industries have discovered that providing a good service is not profitable, but tricking customers is. Always within the law, of course, but.

Today for complicated reasons I had to stop automatic renewal of a car insurance policy that I didn’t realise was on auto-renewal. There was no way to do this through the insurance company’s website. After much time in a phone queue I finally got to talk to someone, who promised me that the renewal would be cancelled. However, she also told me that it was their policy not to send out confirmations of renewal cancellations. That means that I have no proof that I cancelled the renewal (only proof that a phone call was made). My apologies for being suspicious, but I am writing this public blog post to explain what took place.

Endsleigh, this is for you. I’m sure that what you are doing is strictly within the law, but that means we need better regulation of your industry.

There are lots of people on social media currently saying things like, “Worldcon is broken, it must be fixed” or “Worldcon is irredeemably broken, we must replace it with something new.” These are all entirely understandable sentiments, but in order to fix Worldcon, or to build a replacement, it helps to know how and why it goes wrong. In this post I want to talk about a couple of specific examples from CoNZealand.

I should start by noting that much of the problem here stems from the fact that fans all over the world, even if they have Worldcon memberships, have no sense of ownership of WSFS or the convention. They see WSFS as a nebulous “Them” rather than as “Us”. And if something goes wrong, “They” must be at fault. But who exactly “They” are, and what “They” could they have done better, is unclear.

In one sense it is absolutely true that the buck stops at the top. When you agree to chair a Worldcon you know this. There is a reason why “Friends Don’t Let Friend’s Run Worldcon” is a common fannish saying. So Kelly Buehler and Norm Cates have been spending a lot of time taking it on the chin and accepting responsibility. Sometimes they did indeed do things wrong, but knowing what to do right is not always easy.

Take the George Martin situation, for example. CoNZealand was selected as a site in 2018, and George was announced as Toastmaster at that time. The Game of Thrones TV series was hugely popular then, and George had a stellar reputation among Worldcon regulars because, unlike many famous authors, he always attended the convention, and put a lot of his own money into it. His work establishing alternative awards, The Alfies, in the midst of the Sad Puppy affair was widely praised. Few people thought CoNZealand’s choice was a mistake at the time.

Warning signs started to appear last year with the fiasco around Hugo Finalists being barred from the Hugo Losers’ Party because it was full, and being asked to stand out in the rain until there was room. George has done most of the work funding and organising these parties since the Puppy affair, and his response to what happened in Dublin was very disappointing.

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But what would have happened if they did push back? George might well have been very angry. He might have withdrawn from the convention entirely, which might have resulted in a number of people demanding membership refunds. He might have gone to the newspapers, which would have resulted in the convention being dragged through the mud all over the world. And George’s legion of fans would certainly have waged war against the convention on social media.

If you want an example of how much damage an author with a very high profile can do, take a look at what another successful fantasy author is currently doing to the trans community in the UK.

So as a con committee, what do you do if one of your Guests of Honour turns out to be a problem? If, like George, he is very high profile, you will probably keep him and hope that he won’t do anything too awful. And, if he does, that your staff can keep things under control. That’s easier said than done.

Yesterday Mary Robinette Kowal wrote a Twitter thread about her own part in the Hugo Ceremony. She’s President of SFWA, and the winner of last year’s Best Novel Hugo, so she’s not without power and prestige in the industry. She’d been asked to present the Best Novella category. This was all pre-recorded, and Mary says she’d noticed from the way George introduced her that something was up. In particular he had expanded SFWA as “The Science Fiction Writers of America” rather than “The Science Fiction and Fantasy Writers of America”. That might have been a genuine mistake, but it is also a common Old Guard dog whistle. (There’s a whole complicated reason why SFWA is not called SFFWA). She says that she could have asked George to re-do the intro, but she didn’t want to seem difficult.

I was afraid that I might piss him off. I was afraid that I might piss off the ConComm and that word would go through the SMoF community that I was a problem and then I wouldn't get to do the shiny things.

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— Mary Robinette Kowal@🏡 (@MaryRobinette) August 1, 2023

The point here is that if the President of SFWA didn’t feel confident enough to tell George he was getting it wrong, what chance did younger writers, or volunteers on the CoNZealand committee have? If I might be permitted a Railroad joke, there’s a train in motion here and it is very hard to stop. From a convention management point of view, the only thing you can do is to trust that your high profile Toastmaster does not behave too badly. In CoNZealand’s case that trust was badly betrayed.

The other issue I would like to look at is the case of panellist Edmund Schluessel who was twice asked to change his Zoom background because it was deemed “too political”. The full story, complete with an image of said background, is available on File 770 here (item 3) and here.

The first time this happened, Kelly Buehler issued an apology on behalf of the committee. She stated: “There is nothing wrong with your Zoom background, and I encourage you to use it as much as you like.” However, the staff member who had tried to censor Schluessel’s background resigned in protest. And the next time Schluessel was on panel he was once again asked to remove his background, for the same reason as before, but by a different person.

Clearly some of the ConZealand staff have gone rogue here, including ignoring a direct instruction from one of the Co-Chairs. There’s little that the convention can do at this point. All Worldcon staff are volunteers. You can’t discipline them in any effective way. If you fire someone you may find yourself with a major gap in your team, and the person that you fire may take several of his friends away with him. Possibly it was a mistake to recruit this person in the first place, but Worldcons are often desperate for staff and have little chance to vet people at lower levels.

There’s a tendency in certain quarters to sneer when people say that running Worldcon is hard, but it is, and unless you have actually done it you probably don’t understand just how hard it is. Which is not to say that people don’t make terrible mistakes, and should not be called to account for them. I can assure you that I have done that often enough in my time (ask people about TorCon 3 if you don’t believe me). However, I have always tried to do so in the hope that we can learn from our mistakes and make Worldcon better. I hope you can see from the above that fixing things, or creating an alternative, is not simply a matter of vowing to “do better”.

Another one bites the dust. Worldcon 78 is dead, long live Worldcon 78, aka DisCon III.

I have made a start on catching up on programming. I particularly want to recommend the Afrofuturism panel, if you haven’t seen it yet, mainly because all of the panelists, despite being Black, insisted that they didn’t write Afrofuturism.

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One of the panel, I think Brandon O’Brien, said something along the lines of, “No one talks about White Futurism, that is just Futurism.” Exactly.

Oh, and Brandon, mate, if you are reading this, I’d love to have a chat with you at some point about American Gods. I totally take your point about Anansi, but it seems to me that the whole point of that book is that every god in it has been appropriated by America and forced to adapt to American culture.

I was also entertained by the other translation panel. As you probably know, German is a language in which most things are gendered. Tables, cups and bicycles have gender. So the German translator of Ancillary Justice carefully made sure that everything in the book was gendered female. Cora Buhlert said that it was very disorienting to read, but I suspect that’s just the effect that Ann Leckie wanted.

Today I did finally manage to get to the Exhibits area. The Art Show was quite fun, if much smaller than it needed to be for a virtual con. I was particularly taken by the people who made monster head hunting trophies to stick on your wall. Some of the exhibits were interesting too, though I though the 3D rendering was more technically clever than useful.

Sadly the Dealers’ Room was rather dull. To my eyes it was the part of the convention experience that worked least well in a vitual convention. Whether that is because of the facilities available to dealers, or because the concept doesn’t work, I can’t be sure.

If you missed the panel today, then you missed out. I was very pleased with it. But the good news is that you can still watch it. Here.

I would imagine that everyone has now seen the outrage that accompanied the CoNZealand Hugo Award Ceremony. If you haven’t, the short version is that a fabulous list of winners and some really great acceptance speeches were completely overshadowed by a couple of old men grandstanding.

Before I get into the detail, I want to mention one of the acceptance speeches. Neil Gaiman won a Hugo for the television version of Good Omens. In his acceptance speech (Farcebook link) Neil spoke about how he made the series as a favour for his friend, Terry Pratchett. Terry, despite being hugely loved by fans all over the world, never won a Hugo. He was a finalist once, but declined the honour. This was not, as Neil explained, because he didn’t care, but because he cared too much. Terry wanted a Hugo so badly, and was so convinced that he’d never win one, that the mere thought of being a finalist was too much for him. That’s how much Hugos mean to people in our field.

The theme for last night’s 3.5 hour marathon bore-fest was Hugo history. George Martin and Robert Silverberg regaled us with stories from Worldcons past. In that vein, I would like to take you back to LA Con IV in 2006. That convention too had chosen an aging writer to have an important role in the ceremony. The writer in question was Harlan Ellison, who had a far bigger reputation for shooting his mouth off than either Martin or Silverberg. By the end of the evening, the social media of the time was incandescent with fury over something that came to be known as Gropegate. Here’s what I wrote after the event.

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That would have been Connie Willis, who was the Writer Guest of Honour and was also hosting the ceremony.

Fandom was incandescent with fury. And I went on to say the following:

What I do know for sure, however, is that every time Harlan’s name comes up in a convention committee discussion, any convention committee discussion, in the future, people will remember what he did in Anaheim and, if they have any sense at all, will not want anything to do with him.

At the time I had a fair amount of profile as a fan writer. I had nominations that year in Fan Writer and Semiprozine (I had taken shadowsock苹果手机版 out of the Fanzine category). Consequently Harlan heard about what I’d written. We didn’t know each other, but he knew Neil Gaiman and Neil knew me. As a result, I got a phone call. We chatted for quite a long time, and I’m not sure that Harlan ever quite understood why what he had done was wrong. It was the sort of thing that men got away with routinely when he was younger. But one thing was very clear: Harlan, who had won eight Hugos himself, was mortified that his actions had damaged the reputation of the awards.

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It doesn’t just stop there either. There was the incident where the introduction to the Best Fancast category concentrated solely on podcasts, despite the fact that one of the Finalists, Claire Rousseau, uses video rather than audio. The CoNZealand Chairs said in their apology that this was an error, and the CNZ staffer responsible has apparently owned up and apologised. But equally I have been in Claire’s position where people were saying that I should have been disqualified because I was using the wrong sort of delivery system. And when people see such obvious disrespecting of Finalists elsewhere, the natural assumption is that every such incident is deliberate. Bad behaviour elsewhere poisons all other interactions, even when a genuine mistake has been made.

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But when you are hosting the ceremony, it is not just your reputation that you damage if you misbehave. You sully the reputation of the convention, of all the people who worked so hard to make it happen, and of the country that is hosting the convention. Most of all, you sully the reputation of the awards themselves. Harlan understood that. I’m not sure that Martin and Silverberg do.

I have watched some good programming. I can’t remember any of it. The only thing that sticks in my mind is the train wreck of a Hugo Award ceremony last night. As a measure of just how angry I am, I haven’t even looked at the stats yet.

I have been trying to see what future Worldcons and bids are saying about online features. Sadly most of them seem to be taking the line of, “well streaming all of our in-person programming would be impossible so we can’t have any online component.” I hope I don’t have to point out how disingenous that is.

Worldcon needs to change, but hardly anyone involved in running it seems to want it to.

Anyway, time to talk about last night. Separate post.

I’m delighted to report that The Green Man’s Silence is now available for pre-order on Amazon and Kobo. Barnes & Noble should follow suit very soon. Here are some links:

• Amazon UK
• Amazon US
• Kobo

But that’s not all. Amazon has decided to put 手机shadowsock教程 on sale in the UK for the whole of August. So if you haven’t read book #2 in the series yet, you can pick it up early and get it read before the new one drops.

And given that all this is going on, we have put The Green Man’s Heir on sale in the UK at £1.77 (which is the new £1.99 since VAT on ebooks was zero-rated), just in case there’s anyone out there who doesn’t have a copy.

Because I will be using technology new to me for the CoNZealand Fringe panel on Sunday, I decided to run a test with Kevin. We had a brief chat about how we are enjoying Virtual Worldcon so far. It all went very well, and you can see it below. I so wish I had known about StreamYard when I was doing the One25 fundraiser. It is exactly what I needed.

Panels at CoNZealand Fringe contine to happen. The team is working very hard. I’m paying less attention to them right now because the CoNZealand panels will vanish on August 9th while the Fringe one should be there for longer.

If you want to watch my panel on Sensitivity Reading, which starts at 4:00pm on Sunday, here is the YouTube page:

Yesterday morning I was up early for a translations panel because I’d promised the moderator, Kalin from Bulgaria, that I’d be available. I went straight back to bed afterwards.

Much of the rest of the day was taken up with fannish drama, and trans drama. I’m not sure which is worse.

The big event of the day was the Site Selection results announcement. To the suprise of no one who knows anything about Worldcon, Chicago beat Jeddah by 517 votes to 33. Yasser Bahjatt has been taking the whole thing remarkably well, all things considered. He’s also announced that he’s rolling the bid forward to 2026. Currently that’s unopposed, but I don’t expect it to be for long. Yasser seems to think that a large part of the value of the bid is to draw attention to Arabic SF&F in translation, which is surely a good thing.

In other bid news Nice has formally postponed their bid. While their statement in the Question Time session this morning talked only about COVID-19, I understand that they have also lost their venue because the newly elected Mayor of Nice has vowed to demolish it and build a new convention centre.

But, as one bid vanishes, new ones take their place. A group of Australian fans has launched a bid for Brisbane in 2025 (opposing Seattle). I’m really sad for the Seattle folks, because I seem to end up opposing their bids all the time, but I can travel to Brisbane and I can’t go to Seattle so I know who I am supporting.

Recordings of panels are now starting to turn up on the CoNZealand website. I watched the Masquerade over breakfast (it is quite short) and the Modern Criticism panel over lunch. Those were both on the big screen TV (giant Gary Wolfe with giant wine glass). However, I have discovered a very easy way to watch panels. If you have an iPad, download the app for The Fantasy Network. Log in with your CoNZealand email address, and everything is there.

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Here we go again. The new issue of Salon Futura went live on Wednesday night. Here’s what I have on review:

• The Sunken Land Begins to Rise Again by M John Harrison
• Mordew by Alex Pheby
• The Empress of Salt and Fortune by from Nghi Vo
• Scarlet Odyssey by CT Rwizi
• Of Dragons, Feasts and Murders by Aliette de Bodard
• Exhalation by Ted Chiang
• Season one of Doom Patrol

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The big event last night was the Retro Hugo and Sir Julius Vogel Awards panel. Unfortunately there were major bandwidth issues with the stream and I bailed early on so as to reduce the load. Kevin stuck with it so as to be able to tweet from the official Hugo Awards feed.

This year’s Retro Hugo Award trophy is gorgeous. You can find out more about it here.

The results of the 1945 Retros can be found here. I was very pleased with the recognition for Margaret Brundage and Leigh Brackett. There has been anger expressed about the awards going to Campbell and Lovecraft, but results like this are inevitable with the Retros because most people don’t take an interest in them. According to the shadowsock苹果手机版, only 120 people participated at the Nominations stage, and only 521 in the final ballot. If Worldcons can’t drum up more interest in the Retros then they should stop doing them (they are optional, after all).

For those of you who were not at Worldcon (and missed a great party), here is the cover for shadowsock苹果手机版. Juliet read briefly from the book at the party, but it is still in edit so it won’t be out immediately. I’ll be opening pre-orders shortly, but it won’t be out until September.

In the meantime, enjoy Ben Baldwin’s beautiful artwork.

Now that I have had a chance to attend a party at CoNZealand, I know a lot more about how they will work. If you are planning to attend, here are some pointers.

The easiest way to find the party is through Grenadine. If you select the Schedule tab and then Thursday you will find us right at the top of the list. The title is “Parties: 30 July, party band #2”. It is at the top of the list because it starts at 7:00am on Thursday in New Zealand, even though it is still Wednesday for most of us.

If you click on that programme item you will find a Zoom link button. Go through the usual process of starting a Zoom event.

That will take you to a main room where the friendly CoNZealand party staff will direct you to the party you want to join. There are three other parties happening at the same time, so you need to get to the right one.

Zoom’s features for this sort of thing are not great, but CoNZealand has come up with a clever trick to help get people into party rooms quickly. Each party is assigned a number. You need to edit your name in Zoom to put that number in front of your name. We are party #1 (obviously). So if your name is “Kevin Standlee”, you would edit that to “1 Kevin Standlee”. Once you have done that, the party staff can press a magic button and you will be teleported into the Wizard’s Tower party room. You can edit your name back to normal once you have arrived.

As a reminder, the rough schedule (in UK times) is as follows:

• 20:15 – Tate Hallaway (Lyda Morehouse) reads and does Q&A
• 21:15 – Juliet McKenna reads and does Q&A, plus we reveal the cover of The Green Man’s Silence
• 22:15 – I read from a forthcoming collection by Croatian author, Aleksandar Žiljak, which we wll be launching at the Eurocon in Rijeka in October

shadowsock手机版

One more thing. If you still can’t find us, Info Desk in Discord may be able to help, but in an emergency write something anywhere in Discord including @Parties and one of the party still should get pinged and come to help.

Fringe is underway as well. We don’t quite have 24-hour programming, but there is now something for people in Europe to watch. And you can too. Claire Rousseau has created a YouTube playlist of the panels we have had thus far. You can find it shadowsock手机版.

I only had time to watch the Modern Fanzines panel, which I thought was excellent. Here it is.

By the way, links for watching future panels are not all available yet. They will go up in good time.

The first ever virtual Worldcon is now fully underway and fans all around the world are getting to grips with the technology. It is a massive learning curve for all involved, but it seems to be working quite well, and certainly much better than many people feared.

The big issue is that there simply isn’t a suitable software package to do the whole thing. It needs Grenadine to run the programme, it needs Zoom to run the actual meetings, it needs Discord for the social side, and a few other things as well. But we are learning. Hopefully I will be able to report back in more detail when the dust has settled.

In the meantime, we have had opening ceremonies, which Kelly and Norm did a fine job of hosting. That included the Hugo base reveals. I’m not sure if they are public yet, but they are gorgeous. New Zealand has done the Worldcon community proud there.

I have also watched a few panels, and attended a party. So far so good.

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The new Salon Futura is almost ready to go.

Today was also my weekly shop day, the first one since masks became obligatory in England. Much to my surprise, all of the customers were wearing them, and no one was making a huge fuss about it. Quite a few of the Tesco staff did not have masks, but I’m assuming that they are all getting regular testing so the only people they are putting at risk is themselves. It isn’t ideal, but it is so much better than I’m hearing about from the USA, and ever elsewhere in the UK.

As promised, here’s details of the other thing I am doing for Worldcon. This year it has a Fringe. This is not organised by CoNZealand itself. Rather there is a bunch of European fans who offered to put on something in our daytime.

I got involved with this because I am very keen on developing online conventions so that we can make Worldcon truly international. I totally understand why CoNZealand isn’t doing 24-hour programming, but if people can help them do that then why not? Also Claire Rousseau, who is one of the organisers, has a lot of experience of streaming and has introduced us to some software I wish I had known about before I did the One25 fundraiser.

I gather than there has been some fulminating on File 770 about how WSFS and CoNZealand are going to sue us into oblivion for violating their trademarks. Kevin and I have had a good laugh about this. And given that the Fringe team have been in regular contact with CoNZealand’s programming team, I don’t expect Norm & Kelly to be upset either.

Anyway, the panel I am definitely doing is on sensitivity reading. That’s on Sunday at 3-4am NZST (next day); 4-5pm BST; 11am-12pm EDT; 8-9am PDT, with Mike Carey, iori Kusano, Yvonne Lin, Corinne Duyvis. I think that will be great.

I am also currently down for a panel on awards, but I will probably be making way for a PoC panelist because we are trying hard to have really diverse programming.

The full list of panels is here. Please note that panel line-ups may change.