Sci-Fi and Fantasy, Genre and Community: A Meeting of Authors, Editors, and Fans
On March 28th, a panel of six members of the sci-fi and fantasy community gathered for a conversation about what makes these genres (and their fans) so special. Moderated by Fordham’s own Caridad Kinsella (they/them), the discussion gave authors, readers, and editors of SFF books a chance to share reflections on the field and advice for aspiring writers (and fans!) of science fiction and fantasy.
After self-introductions from the panelists, Caridad kicked off the discussion with a question for all the panelists: how do they define fantasy and sci-fi? They also asked the panelists to describe their own writing projects (if applicable).
Each panelist highlighted a slightly different aspect of the field. Claire Eddy, an executive editor at Tor Books, noted the flexibility of the genres and sub-genres used to “package” SFF writing in response to the changing tastes of its readership. Author Keith R. A. DeCandido also highlighted the broad scope of these genres, describing SFF worlds as “the world we live in but with one thing changed.” For author Jane Lindskold, the distinction between fantasy and sci-fi comes down to magic (fantasy has it, and sci-fi doesn’t). Andrew Dana Hudson, who writes climate fiction, offered his favorite delineation of science fiction and fantasy: "Sci-fi is all the worlds that could be, and fantasy is all the worlds that could never be." Paul Levinson’s definition likewise comes down to “plausibility.” All the panelists agreed on the almost infinite range, scope, and flexibility available to writers within these genres and subgenres.
The authors on the panel also offered reflections on what excites them most about writing sci-fi and fantasy, each contributing a different perspective on the genres’ possibilities. Andrew emphasized how science fiction comments on our present moment even as it imagines possible futures. Gilbert Stack spoke enthusiastically about the possibilities for portraying the intricacies of human culture and politics in imagined worlds. Keith focused on how the flexible settings of SFF texts free writers to “write any story [they] want!” And Jane emphasized that authors within the SFF community shouldn’t feel “pigeonholed” into a particular formula or kind of story.
The six panelists, Caridad, and Dr. Mary Bly, Chair of Fordham’s English department.
The conversation moved next to the (unusually active) role that fans have played in shaping the SFF community. Caridad asked the panelists to speak about their experiences of this ongoing conversation between readers and writers.
Paul described the early emergence of a thriving SFF fandom in the 1930’s, attributing much of the flourishing of SFF’s “Golden Age” (featuring writers like Isaac Asimov, Arthur C. Clark, and their peers) to motivation and inspiration from this deeply committed (and continually growing) fandom. The fandom has been consistently vocal for the better part of a century, distributing mimeographed fan magazines (“fanzines”) at conventions before the explosion of digital textuality in the late twentieth and early twenty-first centuries. That exchange between writers and readers, Jane also noted, sets the genres apart: “Everybody talks to everybody, and it's made [SFF] a special area for creativity, and it makes the fans important.”
Keith spoke appreciatively of the sense of community at SFF conventions (he told us that he would love to attend a RamCon). “It’s wonderful to talk to people who are interested in the same things; it's just fun to sit and talk with like-minded people. The sense of community from taking joy in this nerdy stuff that we all love is invigorating! As a writer, it makes me want to go write more stuff.” Caridad shared their experience of “finding [their] people” at conventions, and Andrew also noted that participating in collaborative communities of SFF writers has profoundly influenced his work.
Jane likewise emphasized the value of attending conventions and writers’ conferences. “Go to cons and listen to editors and writers talk,” she advised. “It will save you a lot of grief.” She also highlighted the mutual enthusiasm and (companionable) disagreement of SFF fans. “On the whole, it's a very loving and supportive community, even though they've always argued as a family. Be prepared to be surrounded by people who feel they can disagree with you strongly and still love you.” Keith also noted that while conventions are great places to meet like-minded people, they aren’t the be-all-all. “There are lots of right ways to be a part of the SFF community.”
Caridad next turned the conversation toward advice for young SFF authors in the room, all of which the panelists gave generously.
Claire and Jane emphasized the value of knowing what has already been done and writing what you want to write (as opposed to following fads). Jane advised, “Learn your neighborhood. Don't think you're the first person to come up with vampires with AIDS. You've got to do it in your own special, unique way to add to the conversation.”
Claire elaborated further: “There is no golden key; all the new ideas do not come from Schenectady… Write what you like. Write that. Because as editors, we're already planning for fall 2024. Don't latch on to what's hot now. Write what you enjoy.”
Keith encouraged young authors to adopt two practices. First, finish your projects. “The first draft is allowed to suck... It's easier to go back and fix something that's already finished, so finish what you start.” He was also the first of several panelists to strongly advise writers to develop a habit of writing every single day, even if it’s only a little bit. Gilbert reinforced this advice: “Writing is a passion, but to be successful, you have to make it a discipline, and I'm at my best when I write every day.”
“Ray Bradbury once famously gave the advice to write 100 words each day,” said Claire. “On the 10th day, look back at the first day. On the 100th day, look back. Just in the act itself, you will get better.”
Several questions from the audience asked practical questions about the publishing process.
What goes into a book proposal? one audience member asked. Claire described what she looks for in a proposal: a cover letter, the first couple of chapters, and a paragraph describing the project and its genre.
Paul’s advice about book proposals? Don't make the mistake of putting all your effort into a proposal before you actually have a draft of the book. Write the book first and go from there. “Ignore that inner voice telling you that this isn't really ready for others to read,” he said. “Every successful writer I know has succeeded, in part, because they ignored that voice and took a chance on what they were creating. You shouldn't be the person who turns your work down. Leave that to someone else.”
Another audience member asked for advice on how to find an agent. Paul suggested attending conferences and conventions and introducing yourself to agents you’re interested in. Claire recommended reading the acknowledgments pages of authors you admire (they always thank their agents there). Keith advised looking at agents’ client lists to ensure their priorities and specialties align with yours.
Andrew recently got his first agent, and he advised young authors to apply widely. “It's a numbers game,” he said. “If you apply to 3 agents and don’t get a response from any of them, you should be applying to 30.” He suggested building a spreadsheet or getting on QueryTracker to help stay on top of the process. It’s also a good idea to check out agents’ lists on Manuscript Wish List to find out what they're looking for.
(A side note about conference etiquette, courtesy of Claire and Jane: If you walk up to introduce yourself to someone after a panel and they look like they have to pee, let them go. Try not to ambush people on their way to things. Do try to find them at designated meet-and-greet times. Do your best to respect the fact that the person you’re trying to talk to has a body.)
The final question from the audience centered on diversity in the field. Jane expressed her excitement at the new stories coming from what she described as a recent “blossoming” of diverse SFF writers. The evening finished with Claire’s comments on diversity in the SFF field. She reported that there’s still much more work to do; she noted, trenchantly, that this panel was itself “monochromatic.” She highlighted that publishers are hiring more people of color, who are attuned to and excited about stories from diverse perspectives. She landed on a hopeful note: while the work is far from done, “the tent is getting bigger.”
Have a happy writing week! If you want some support and encouragement for your writing projects, join students, faculty, and alums for weekly writing sprints every Thursday at 2:00pm.
This event could only happen thanks to the generosity and hard work of all the panelists, Caridad Kinsella, Orquidia Rodriquez, Mary Bly, Fordham’s English department, and a generous bequest from Mary Higgins Clark. Thank you all! And thanks also to all who attended.
