The Bulletin #216 is now available for download for SFWA members and participants of the 2021 Nebula Conference Online. Cover: “La Cantarita” by John Picacio This issue is special in more ways than one. Not only does it cover Winter/Spring 2021 and the 56th Nebula Awards®, it’s also the final issue edited by Michi Trota, […]
You become a writer by writing. You learn by damaging your ego, and giving more of yourself than you take. By a thousand revelations, by millions of words you improve.
Writing is a rewarding and fun gig, but finding the time to write can be a challenge. The only commodity an author has are her words, and the only way to produce that commodity is to get some quality butt-in-chair action. Contrary to urban legend, stories don’t write themselves or grow on Novel Trees. So how do you find the time to make the magic happen?
Surprise is one of the vital elements in story making precisely because it makes things unpredictable. It makes hope, fear, worry, and curiosity possible.
There’s nothing like writing during adolescence. The intensity, focus, and emotional strength that such a writer brings to her/his work is, like a map frozen in time, sharply delineated and can’t be captured except as a memory of once walking in those lands.
My daughter Athena was born in 1998, and once my wife completed her six-week maternity leave, I was and still am the stay-at-home parent, caring for our daughter Athena during the day. Along the way I’ve also managed to write a dozen books and literally thousands of articles and entries for magazines, newspapers, blogs and online sites. How have I managed to juggle kid-watching duties with writing work?
Inside of genre circles, “YA” seems to be taking hold as a catch-all term for anything written for anyone under 18. Since so many people use YA as a catch-all, it’s becoming a catch-all, so how children’s book industry people define the category doesn’t matter. Does it?
An important part of developing as a writer is learning when to trust your voice, and how to tell the difference between trusting your vision and being stubborn about something that doesn’t work.
When I consider trying to maintain my writing and care for human children, my head boggles. Others have done it, wresting time and space while caring for family. I decided to ask a small panel of talented writers and fellow SFWA members about how they did it
Literature is all about metaphors–analogies. One thing is like another. Much of literature works by saying, “This thing is like this other thing.” In secondary world stories, how do you handle metaphors?
In the sequel to the critically acclaimed Hot Moon, set in an alternate 1983, Apollo astronaut Vivian Carter and her crew barely survive an armed attack from mysterious assailants at the lunar South Pole … and that’s just the beginning.
Eugen Bacon is an African Australian author. She’s a British Fantasy Award winner, a twice World Fantasy Award finalist, and a finalist in the Shirley Jackson, Philip K. Dick Award, and Nommo Awards for speculative fiction by Africans.
