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My Superpower: Benjanun Sriduangkaew

My Superpower is a regular guest column on the Skiffy and Fanty blog where authors and creators tell us about one weird skill, neat trick, highly specialized cybernetic upgrade, or other superpower they have, and how it helped (or hindered!) their creative process as they built their project. Today we welcome Benjanun Sriduangkaew to talk about how the power of War relates to Scale Bright. ———————————————– My superpower is an intense interest in war. Strictly on the page, I hasten to add. Recently, I pitched a story idea like so:  ‘Deep Ones meet Little Mermaid, told as military fantasy’. I think the editor liked it(?) and seemed pleased that it wasn’t quite like anything else pitched so far. A good thing, yay! On the other hand, I discovered that I might have a problem; usually, one thinks Little Mermaid and the idea of red-haired Ariel tends to come up first thing — not so much, ah, military fantasy. If by remote chance you have read my short stories, you will find war present in many of them, and there is probably a reason most of my SF tends to be read as military.

Blog Posts

A World SF Reading List

I’ve been collecting recommendations from Twitter using the #worldsfbooks hashtag for this list.  Since this year’s theme is all about World SF, it makes sense that we’d celebrate that with a massive list of stuff you should read.  If you’d like to add anything to the list, leave a comment on this page OR use the #worldsfbooks hashtag on Twitter! So, without further ado, here’s the list (below the fold):

Blog Posts

My Superpower: Kameron Hurley

My Superpower is a regular guest column on the Skiffy and Fanty blog where authors and creators tell us about one weird skill, neat trick, highly specialized cybernetic upgrade, or other superpower they have, and how it helped (or hindered!) their creative process as they built their project. Today we welcome Kameron Hurley to talk about how the power of preternatural calm relates to The Mirror Empire. —————————————– My mom and I share a similar superpower – the ability to stay preternaturally calm during times of great stress and turmoil. Grievous injury, car accidents, difficult births… if something horrible happens, we’ll calmly bind wounds, give the injured a soothing pep talk, call 911 and do the shit that needs to get done, with no shaking or screaming or crying or fuss. This response to times of great stress has made nearly every movie where folks scream and seize up and flail in the face of terror difficult for me to watch; I never find it terribly believable. Yes, of course, you startle for a minute, but then you center yourself, you go cold, right? You move through it. Breakdown later, when you have the time. In truth, this calm in the face of extreme stress has gotten me called all sorts of names over the years:  unfeeling, inhuman, monstrous. What many folks don’t understand about this stress response is that it’s not that I don’t feel things – it’s that I simply delay feeling them. When the stressor has passed and everyone is cared for and there is nothing more to do, I crash. I’ve used this response to trauma a few times in building characters in my novels, too, most notably in the character of Lilia, the protagonist of my novel The Mirror Empire, whose ability to push through horror makes her one of the few people in her country who can adjust to the coming war of attrition thrust upon her pacifist people.

Blog Posts

Tobias Buckell on the (New) Art of The Xenowealth Saga

In 2006, I came out with my first novel in the US, a somewhat hard-to-categorize (I’m told, I think it makes perfect sense, I wrote it after all) science fiction novel with Caribbean peoples settled on an alien world that have long since lost touch with their home world. That was Crystal Rain. I alternated between calling it Caribbean steampunk (a few years early, I think, for steampunk) and Caribbean SF. It had a cover I adored — created by the amazing Todd Lockwood, a well known fantasy artist who’s work is amazing. I have a print of the art framed on my wall:  an airship above a verdant forest being chased by another distant ship. But when the novel came out, booksellers emailed me to say that the cover looked like the book was a fantasy, creating confusion among casual browsers. Core SF readers didn’t want to pick up the book. Fantasy readers put it down when they realized what it was.

The Skiffy and Fanty Show Podcasts

219. Kameron Hurley (a.k.a. The Patriarchy Smarsher) — The Mirror Empire (An Interview at CONvergence)

http://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/SandFEpisode219AnInterviewWKameronHurleyAtCONvergence/SandF%20–%20Episode%20219%20–%20An%20Interview%20w%20Kameron%20Hurley%20at%20CONvergence.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSGrimdarkiness, mirrors, and patriarchy smarshing, oh my!  With a two Hugo Award wins nomination under her belt, Kameron Hurley joins the crew for a heart to heart about her new novel, The Mirror Empire.  We tackle the political nature of fiction, Grimdark, feminism, and silly things. We hope you enjoy the episode! Note:  If you have iTunes and like this show, please give us a review on our iTunes page, or feel free to email us with your thoughts about the show! Here’s the episode (show notes are below): Episode 219 — Download (MP3) Show Notes: Kameron’s Website Kameron’s Books Kameron’s Twitter Our new intro music is “Time Flux” by Revolution Void (CC BY 3.0). That’s all, folks!  Thanks for listening.  See you next week.

Blog Posts

English as the Center and Its Privileges

Daniel José Older recently uploaded an appropriate video titled Why We Don’t Italicize Spanish: This incited reactions from several people, including Bryan Thao Worra: [View the story “Bryan Thao Worra Reacts to Why We Don’t Italicize Spanish” on Storify] Previously, I once asked an editor why we italicize Filipino words. “Charles, there’s a difference between away in a manger from away in a manger.” (Away being the Filipino word for fighting.) There is, of course, context:  readers should be able to immediately distinguish if people are moving away from the manger, as opposed to a fight taking place in a manger, if such a sentence was used in a story. But I doubt if the style guides of various publishers (including the one I work for) will be changing anytime soon.

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