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It's a busy one:
Thursday, July 14th
7pm the reading/signing of Naked City at Porter Square Books in Cambridge with me introducing Matthew Kressel, Jeffrey Ford, Caitlín R. Kiernan, Kit Reed, John Crowley, and Ellen Kushner.
Friday 12-1pm Kaffeeklatsch in Vinyard
Friday 1-2 autographing Salon E
Friday 5pm Salon G
De Gustibus Est Disputandum When Editing Anthologies
Adams, Datlow, Dozois, Kessel, Waldrop
While any anthology has its no-brainer must-include great stories, the anthologist usually needs to flesh it out with selections from a broader pool of merely good stories. When should an editor choose their personal favorites from that pool, giving the anthology more of a coherent flavor but possibly limiting its audience, and when should they make a conscious effort to choose stories that will appeal to a wide variety of readers, so that there is "something for everyone"? How do the rules change when one is editing a themed anthology or a Year's Best, or pitching to a larger or smaller publisher?
Friday 6-7 NH/MA
Group reading from Teeth
Kaaron Warren, Delia Sherman, Steve Berman, Suzy McKee Charnas
Saturday 12-1pm RI
The Year in Short Fiction
We will discuss the short fiction published since last Readercon.
Cramer, Datlow, Dozois
Saturday 1-2pm Salon F
Urban (Fantasy) Renewal
Bobet, Clute, Datlow, Gidney, Kelner
The term "urban fantasy" has encompassed the work of Charles Williams, a contemporary of Tolkien who sometimes situated his fantasy in London or suburban settings as opposed to a pastoral secondary world; the novels and short stories of Charles de Lint, Emma Bull, or Robin Hobb (as Megan Lindholm); the phantasmagoric cities of China Miéville or Jeff VanderMeer; and most recently, the magical noir of Jim Butcher and Charlaine Harris. Is it possible to reclaim "urban fantasy" as useful critical term? Rather than wring our hands at how it no longer means what it did, can we use it to examine what these very different writers have in common, and to what degree they reflect different eras' anxieties around and interests in the urban?
Saturday 9-10 pm NH / MA
Group reading from Supernatural Noir
Caitlin R. Kiernan, Paul G. Tremblay, John Langan
Sunday 11-noon The Shirley Jackson Awards
I'll be bringing a few of my OP anthologies to sell at my autographing so if you have any specific requests I can see if I have them around.
Thursday, July 14th
7pm the reading/signing of Naked City at Porter Square Books in Cambridge with me introducing Matthew Kressel, Jeffrey Ford, Caitlín R. Kiernan, Kit Reed, John Crowley, and Ellen Kushner.
Friday 12-1pm Kaffeeklatsch in Vinyard
Friday 1-2 autographing Salon E
Friday 5pm Salon G
De Gustibus Est Disputandum When Editing Anthologies
Adams, Datlow, Dozois, Kessel, Waldrop
While any anthology has its no-brainer must-include great stories, the anthologist usually needs to flesh it out with selections from a broader pool of merely good stories. When should an editor choose their personal favorites from that pool, giving the anthology more of a coherent flavor but possibly limiting its audience, and when should they make a conscious effort to choose stories that will appeal to a wide variety of readers, so that there is "something for everyone"? How do the rules change when one is editing a themed anthology or a Year's Best, or pitching to a larger or smaller publisher?
Friday 6-7 NH/MA
Group reading from Teeth
Kaaron Warren, Delia Sherman, Steve Berman, Suzy McKee Charnas
Saturday 12-1pm RI
The Year in Short Fiction
We will discuss the short fiction published since last Readercon.
Cramer, Datlow, Dozois
Saturday 1-2pm Salon F
Urban (Fantasy) Renewal
Bobet, Clute, Datlow, Gidney, Kelner
The term "urban fantasy" has encompassed the work of Charles Williams, a contemporary of Tolkien who sometimes situated his fantasy in London or suburban settings as opposed to a pastoral secondary world; the novels and short stories of Charles de Lint, Emma Bull, or Robin Hobb (as Megan Lindholm); the phantasmagoric cities of China Miéville or Jeff VanderMeer; and most recently, the magical noir of Jim Butcher and Charlaine Harris. Is it possible to reclaim "urban fantasy" as useful critical term? Rather than wring our hands at how it no longer means what it did, can we use it to examine what these very different writers have in common, and to what degree they reflect different eras' anxieties around and interests in the urban?
Saturday 9-10 pm NH / MA
Group reading from Supernatural Noir
Caitlin R. Kiernan, Paul G. Tremblay, John Langan
Sunday 11-noon The Shirley Jackson Awards
I'll be bringing a few of my OP anthologies to sell at my autographing so if you have any specific requests I can see if I have them around.
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