Posts Tagged ‘sexism’

AddisonNote: The following material ran in a recent issue of the Garden State Speculative Fiction Writers quarterly newsletter, which I edit. Here’s the fifth part of the piece, along with my original introduction.

Several things inspired me to put this project together. But mainly, it’s because I still frequently encounter the tiresome “nerdy boys club” stereotype regarding speculative fiction writers and readers. The widespread perception that our branch of literature is the domain of emotionally and socially stunted man-children who don’t want icky girls in their club unless they happen to be wearing skimpy cosplay outfits at conventions.

I think it’s important that we speculative fiction writers do everything in our power to help dispel that stereotype, and make it clear that women are a major, vital and respected part of our community. So I reached out to a number of prominent woman science fiction, fantasy and horror authors and editors, and invited them to share their perspectives.
Tom Joyce

Linda Addison is the award-winning author of four collections of poetry and prose and the first African-American recipient of the Horror Writers Association’s Bram Stoker Award®. She has published over 290 poems, stories and articles and is a member of Circles in the Hair, Horror Writers Association, Science Fiction & Fantasy Writers of America and Science Fiction Poetry Association. See her site: www.lindaaddisonpoet.com, for more information.

My first publication was in 1994. At that time I considered changing my name to L.D. Addison so it wasn’t obvious that I was a woman. I decided not to use an alias. Today there are more women writing speculative fiction than twenty years ago.
I’ve always seen myself as an author first, then any other labels are acceptable: woman writer, African-American writer, African-American woman writer. Through my eyes I see myself writing the stories and poems that come to me. It just so happens my imagination always went outside the realm of reality-based writing. I’m blessed to represent women writing weird stuff, always will be.

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samatarphotoNote: The following material ran in a recent issue of the Garden State Speculative Fiction Writers quarterly newsletter, which I edit. Here’s the fourth part of the piece, along with my original introduction. I’ll be running contributions from the other writers who participated in the days ahead.

Several things inspired me to put this project together. But mainly, it’s because I still frequently encounter the tiresome “nerdy boys club” stereotype regarding speculative fiction writers and readers. The widespread perception that our branch of literature is the domain of emotionally and socially stunted man-children who don’t want icky girls in their club unless they happen to be wearing skimpy cosplay outfits at conventions.

I think it’s important that we speculative fiction writers do everything in our power to help dispel that stereotype, and make it clear that women are a major, vital and respected part of our community. So I reached out to a number of prominent woman science fiction, fantasy and horror authors and editors, and invited them to share their perspectives.
Tom Joyce

Sofia Samatar is the author of the novel “A Stranger in Olondria,” the Hugo and Nebula nominated short story “Selkie Stories Are for Losers,” and other works. She is the winner of the John W. Campbell Award, the Crawford Award, and the British Fantasy Award. Sofia is a co-editor for “Interfictions: A Journal of Interstitial Arts,” and teaches literature and writing at California State University Channel Islands.

I don’t know whether things are worse for women in speculative fiction than they are for women in mainstream or literary fiction. What I do know is what everybody knows, if they pay attention: that the publishing industry, in both of these genres, is male dominated. It is also white dominated, and privileges heterosexist and ableist narratives. These inequalities create the atmosphere in which we work. To speak as a woman in speculative fiction specifically, the inequality creates a situation in which you know certain things in advance. Even if you’ve never been harassed at a con, you know it happens, and that knowledge shapes your interactions with other professionals. You know that you’re statistically less likely to rise to prominence than a male writer, to draw attention, to make people listen.

All of this explains why the past year stands out. This was the year Ann Leckie swept everything — award after award, it was amazing! All the Nebula award winners were women. This is also the year the folks at “Lightspeed Magazine” made ten times their goal amount with the “Women Destroy Science Fiction” Kickstarter, enabling them to do “Women Destroy Fantasy” and “Women Destroy Horror” as well. Now, that whole series started in response to the sexist notion, which some people actually hold, that women are destroying these genres. But the immense interest in the series, and the energy around it, shows that there’s a significant number of people who believe the opposite.

It might just be a coincidence. This could be the year we all look back at like “Hey, remember that year a bunch of women got attention?” But I really don’t think so. I think that transformation comes in waves, each one bigger than the last, and that this is a particularly big one. It will probably recede, but things won’t go back to the way they were. Every woman writing science fiction now is looking at Ann Leckie. Each change makes the next change possible. That’s why, all things considered, this is a pretty great time to be a woman in speculative fiction.

Rena MasonNote: The following material ran in a recent issue of the Garden State Speculative Fiction Writers quarterly newsletter, which I edit. Here’s the third part of the piece, along with my original introduction. I’ll be running contributions from the other writers who participated in the days ahead.

Several things inspired me to put this project together. But mainly, it’s because I still frequently encounter the tiresome “nerdy boys club” stereotype regarding speculative fiction writers and readers. The widespread perception that our branch of literature is the domain of emotionally and socially stunted man-children who don’t want icky girls in their club unless they happen to be wearing skimpy cosplay outfits at conventions.

I think it’s important that we speculative fiction writers do everything in our power to help dispel that stereotype, and make it clear that women are a major, vital and respected part of our community. So I reached out to a number of prominent woman science fiction, fantasy and horror authors and editors, and invited them to share their perspectives.
Tom Joyce

Rena Mason is the Bram Stoker Award® winning author of “The Evolutionist” and “East End Girls.” A former O.R. nurse, an avid SCUBA diver, world traveler, and longtime fan of horror, sci-fi, science, history, historical fiction, mysteries, and thrillers, she writes to mash up those genres with her experiences in stories that revolve around everyday life. For more information on this author visit her website: renamasonwrites.com

As Robert Heinlein didn’t want to be pigeonholed as a sci-fi author, not all female speculative fiction authors are also writing some form of romance, paranormal or otherwise. With more organizations and companies promoting women, such as Women in Horror Month highlighting women in all aspects of horror, Nightmare Magazine’s “Women Destroy Horror” issue, Eli Roth’s The Crypt app highlighting women in horror, and the Horror Writers Association offering scholarships for women horror writers, along with more women stepping up to support one another in representing the genre rather than using a more popular or more accepted label for their works, women’s roles in the genre can only improve.

Note: The following material ran in a recent issue of the Garden State Speculative Fiction Writers quarterly newsletter, which I edit. Here’s the second part of the piece, along with my original introduction. I’ll be running contributions from the other writers who participated in the days ahead.

Several things inspired me to put this project together. But mainly, it’s because I still frequently encounter the tiresome “nerdy boys club” stereotype regarding speculative fiction writers and readers. The widespread perception that our branch of literature is the domain of emotionally and socially stunted man-children who don’t want icky girls in their club unless they happen to be wearing skimpy cosplay outfits at conventions.
I think it’s important that we speculative fiction writers do everything in our power to help dispel that stereotype, and make it clear that women are a major, vital and respected part of our community. So I reached out to a number of prominent woman science fiction, fantasy and horror authors and editors, and invited them to share their perspectives.
Tom Joyce

ELLEN DATLOW

Ellen Datlow hard at work in front of her booksEllen Datlow has been editing sf/f/h short fiction for over thirty years. She was fiction editor of OMNI Magazine and SCIFICTION and currently acquires and edits stories for Tor.com. She has edited more than sixty anthologies, including the annual “The Best Horror of the Year,” “Lovecraft’s Monsters,” “Fearful Symmetries,” “Nightmare Carnival,” “The Cutting Room,” and “Queen Victoria’s Book of Spells” (the latter two with Terri Windling).
Forthcoming are “The Doll Collection” and “The Monstrous.”
She’s won multiple World Fantasy Awards, Locus Awards, Hugo Awards, Stoker Awards, International Horror Guild Awards, Shirley Jackson Awards, and the 2012 Il Posto Nero Black Spot Award for Excellence as Best Foreign Editor. Datlow was named recipient of the 2007 Karl Edward Wagner Award, given at the British Fantasy Convention for “outstanding contribution to the genre”; has been honored with the Life Achievement Award given by the Horror Writers Association, in acknowledgment of superior achievement over an entire career, and the World Fantasy Life Achievement Award for 2014, which is presented annually to individuals who have demonstrated outstanding service to the fantasy field.

 

I’ve been editing short science fiction, fantasy, and horror since 1980. When I was promoted from Associate Fiction Editor to Fiction Editor of OMNI Magazine, there was some blowback against me for not emerging from fandom (which was overwhelmingly male and from which most of the sf editors up to that point came). There was some silly talk by a few male writers who criticized the entry of female sf editors into positions of power. These women — again, most of whom did not come out of fandom — were assumed to have had no experience in the genre, although we were all longtime readers of sf/f and we all worked our way up from the bottom.
I’ve been involved more with fantasy and horror than science fiction for a number of years so I’m not as familiar with who is writing what in science fiction these days. But my perception is that fewer writers are writing science fiction at all. Saying that, there are certainly many excellent female writers of science fiction and if a male editor chooses an entire sf anthology with stories only by men it means they just aren’t looking beyond their old boys network comfort zone.

Note: The following material ran in a recent issue of the Garden State Speculative Fiction Writers quarterly newsletter, which I edit. Here’s the first part of the piece, along with my original introduction. I’ll be running contributions from the other writers who participated in the days ahead.

Several things inspired me to put this project together. But mainly, it’s because I still frequently encounter the tiresome “nerdy boys club” stereotype regarding speculative fiction writers and readers. The widespread perception that our branch of literature is the domain of emotionally and socially stunted man-children who don’t want icky girls in their club unless they happen to be wearing skimpy cosplay outfits at conventions.
I think it’s important that we speculative fiction writers do everything in our power to help dispel that stereotype, and make it clear that women are a major, vital and respected part of our community. So I reached out to a number of prominent woman science fiction, fantasy and horror authors and editors, and invited them to share their perspectives.
Tom Joyce

MARY SANGIOVANNI

SangiovanniMary SanGiovanni is the author of 10 horror and thriller books, one of which was nominated for the Bram Stoker Award, as well as numerous short stories. She has a Masters degree in Writing Popular Fiction from Seton Hill University, Pittsburgh and teaches English classes at her local college. She is currently a member of The Authors Guild, The International Thriller Writers, and Penn Writers.

I think writers of my generation are in a unique position to have been able to observe first-hand how the industry has changed regarding the prominence of women in the horror field. In movies, we have seen women go from shrieking, fleeing victims to capable and quick-thinking heroines on screen; we have seen more women writing, directing, producing, and filming quality horror. We have seen a broader range of topics explored in horror, taking into account the psychology of fear from both male and female perspectives. And of course, in publishing, there are increasing numbers of women writers offering lasting and canonic works to the body of classic horror literature. These women, in the tradition of great horror writers before them, are stretching and breaking boundaries in the exploration of fear; they are finding new and terrifying ways to look at the world around them. Further, they are writing their work in their own way, not necessarily prone to be imitative of the historically male-dominated approach to horror. I believe it’s an over-simplification to state that works are intrinsically written in a masculine or feminine point of view; I think so much more goes into the crafting of a finely textured, deeply layered story than just a psychology or perspective based on sex or gender. However, I’d venture to say that women and men are often raised to fear different things, and further, to react and respond differently to those fears. This creates a variety of possible ways to present subject matter in a horror story that can be accessed by either men or women. The awareness of this, especially in modern horror fiction, has led to the creation of sophisticated works by both men and women which truly engage a wider audience. Horror is not about the mask that is worn, but the face beneath that mask; the root of fear an audience can understand and identify with is what drives a horror story, not the monster in which that fear is embodied, be it a boogeyman associated with the nightmares of man, or those of women. I believe that women have incorporated this notion into their work in order to overcome the stereotype that women’s horror is “soft” or “not scary.” Their work serves to prove that their own unique perspective of things can be absolutely scary, whether that is in spite of or because that perspective has been generated in a female mind.
My generation has largely been influenced by male horror writers (Stephen King, Clive Barker, Ramsey Campbell, Dean Koontz, etc.) because men dominated the field for decades. I think it’s gratifying to see many new women horror writers listing both men AND women as influences in their own writing. I think that is as validating as anything else, because we, as writers, start out as fans of the genre. We simply want to contribute to the body of literature that inspired and shaped so much of our thoughts and feelings. It’s a powerful thing to know that readers and fans of the genre are reading more widely, taking chances on what in the past would have been dismissed, perhaps, as “fluff,” and finding in women writers’ works some truly frightening and memorable stories. It solidifies the idea that women are, in fact, taking part in continuing the literary tradition that they have so very much enjoyed.
We’ve come a long way from naked nubiles being carried off by buff and scaly monsters or swarmed by lascivious cultists. These stories have their place in the history of horror, as do any stories that speak specifically to a kind of horrific event, but it’s nice to see a broadening of ideas that can be interpreted as “horror” in our field. There is no shortage of emotion or action, deviant or otherwise, for writers to delve into.
I think it’s important to note, when discussing the topic of women horror writers, that true equality comes when writers are judged based solely on the merit of their work — when the time comes that horror writers are not identified first by gender and then by genre, but simply as writers in their field. I think the horror genre benefits from a rich diversity of voices and perspectives, not a narrowing of them. And I am proud and pleased to see that this seems to be the direction in which the horror genre is heading.

Space girlTechnically, I guess I’m a science fiction writer. I mean, I’ve written exactly one science fiction story, and that was a parody. But what the heck, I wrote it and it’s going to be published in a forthcoming anthology.

As a writer, I identify more with the rubric “speculative fiction” — a blanket term encompassing science fiction, fantasy and horror. Still, I’m a lifelong science fiction fan. Maybe “lifelong” isn’t strictly accurate. Let’s just say since I was old enough to read.

Hands down, the best part of actually becoming a published author has been the chance to meet and interact with other writers, including some science fiction writers I admired as a kid. I’m old enough (47, for the record) to remember a time when science fiction was considered the purview of a small subculture of weirdos. Say what you will about the genre, but that certainly isn’t the case anymore. I’d be hard-pressed to think of an aspect of popular culture that hasn’t been directly or indirectly influenced by science fiction.

And as it’s become more mainstream, I’d like to think that the popular image of science fiction creators and fans has changed as well. Hey, guess what? We’re not all a bunch of sexually and socially stunted dorks.

As I said, I’d LIKE to think that’s what’s happened. Then I see something like this. And it makes me wonder if the science fiction community is truly free of that image. Or if it even deserves to be.

“Girls wanna join our club! Eeewwwww! Yucky!” Seriously guys. Grow the fuck up.

For the record, I can’t see any of the science fiction writers with whom I’ve interacted saying anything like that. Indeed, I’d make a point of NOT interacting with them if I ever heard them say something to that effect.

Still … call me a traitor to my kind, but this makes me suspect that maybe some guys urgently need to be shoved into a gym locker for old time’s sake.