Meanwhile, you will all be shocked to learn that Brian “Dragon Award” Niemeier’s 2016 “shadowban” by Twitter was…a piece of marketing.
“One answer our guys have come up with is eDrama marketing. The basic idea is to pick out a representative of the establishment and find a way to sell yourself as the plucky little guy crusading against the man. People – especially Americans – love an underdog, so playing the put-upon victim of megacorp ticket-takers is an effective way to drum up sympathy. No doubt about it, eDrama can make for rapid gains. I’ve used that approach myself. If the popularity of professional wrestling has taught us anything, it’s that kayfabe works. People love to root for the face against the heel. The ringleaders of certain dissident art scenes have ridden outrage marketing to modest e-celebrity and small fortunes.”
Baen author Larry Correia is currently banned from Facebook for bullying but has back-up account for his fan page on the lesser-known social media service MeWe. I thought readers would be interested to know about a new project he is working on. Not sure what you’d call it? Muck raking? Quixotic quest for revenge? Doing his utmost to make a bad situation worse for fun and profit? Not sure.
“I have a favor to ask (and if one of the mods could put this in the Facebook group too, that would be great). This is directly related to Toni getting kicked out of WorldCon. This is for a project someone is working on. I don’t know how it will proceed yet. I need examples of writers/editors/fans who WorldCon is perfectly comfortable with, and their shitty posts, tweets, memes, of things that aren’t “inclusive”. (advocating violence, shooting cops, killing Trump, celebrating Rush’s death, putting us in reeducation camps, whatever. If it makes you feel not included, I’d like to know) If you don’t have a screen cap but are going from memory, that’s fine. (that standard of evidence is perfectly acceptable for the “exposes” they utilize) I know this is “political”. I know this may make some of you here uncomfortable, which is why I don’t want debate or infighting, just gathering evidence. This isn’t about right or left, this is about cancel culture being fucking evil, and people needing to stand up to it. If you don’t like it, keep on scrolling. Not up for debate. Post them in the comments if you’ve got them.”
What is interesting from the comments is…well there’s nothing interesting in the comments. I think he imagined there would be all of these great examples of famous authors saying terrible things but people didn’t have much. I’m surprised they haven’t found more.
You will all note the rhetorical sleight of hand at the start. Toni Weiskopff has not been kicked out of Worldcon. She’s no longer Guest of Honour, not banned from attending. Of course, that would make Larry’s project even harder if he had to find a Guest of Honour with dubious comments that had been brought to Worldcon’s attention and then they didn’t disinvite them?
I’ve been mulling over for some time (years tbh) writing a history of the Sad Puppy/Rabid Puppy attempt to hijack the Hugo Awards. A few things have put me off doing so. Two of the obstacles is any account needs at least some treatment of RaceFail and of the Requires Hate story and they are rabbit holes of controversy (but there are ways through that I think). However, one issue is an end point. In terms of Larry Correia’s frustration at not getting an award, the 2016 Dragon Award ceremony, which also saw Vox Day’s Castalia House getting its participation trophies, is an obvious place to stop. You can finish a story there and say “and the puppies went away and had their own awards”. It is unsatisfying and misleading though.
The appeal with finishing the story there is the main action of the Puppy Debarkle ends there with things petering out with the collapse of Sad Puppies 5 and the process reforms blunting the impact of Rabid Puppies 3 the following year. However, the point of writing about the Debarkle is the wider context. Fandom has had its fair share of squabbles, kerfuffles and scandals but what makes the Debarkle interesting in particular is the connection with wider events. The Sad Puppies presented their unexpected fannish-insurrection as primarily a question of aesthetics, as Larry Correia stated in his first attempt to hijack the Hugo Awards, this was an attempt to frustrate the “literati”. Contrariwise, the opposition to the Puppies contended that they were a politically reactionary movement.
It is this second issue that frames any discussion. It’s not a difficult proposition to demonstrate, that the Puppies were a politically reactionary movement motivated by a dislike of the left in general and the advocacy for women and people of colour and LGBQTI people more specifically. By late 2016 the Puppies of all stripes were barely pretending otherwise and, of course, Vox Day’s Rabid Puppies never pretended otherwise. But a more open question is whether the process of the Debarkle radicalised the Puppies or whether a growing social rift in America (and beyond) was radicalising them regardless?
I don’t know the answer to that question but it is the kind of question I could get a better answer to if I attempt this. Of course, placing the Puppies in the context of the politics also gives a point in time to look back from and say “how did we get here?” That point looks very much like January 6 2021.
Take, for example, this artefact of current right wing discourse in the wake of the attempted putsch in America’s capitol:
Or, looking in a different direction, imagine being a future historian and trying to explain all the context to this tweet:
Neither GamerGate nor the Debarkle by themselves explain events and both were shaped by social forces that were hard to see. Yet, rather like the tracks made by invisible particles in a bubble chamber, the revealed shifts in attitudes and changing political coalitions that were also leading up to changes on a bigger scale. Within a short time, political upsets in the US and UK (Trump becoming the Republican Party POTUS nominee and the Brexit referendum) saw right-wing, populist, anti-rational positions taking hold of national policy. Where they motivated by the same thing as the Puppy movements? We can debate that but the Puppies generally thought so (Brexit more than Trump oddly).
Five years after peak-Puppy, in the hell year that was 2020 notable figures in the Debarkle were pushing firstly covid-19 conspiracies, followed by attempts to mobilise anti-lockdown protests, followed by anti-mask wearing propaganda, followed by anti-vaccine propaganda. In the wake of Donald Trump’s election defeat, chief Sad Puppy Larry Correia was a notable booster of “steal” conspiracy theories and his posts on the topic were widely shared in conservative circles. Meanwhile, since late 2017, Vox Day was an early adopter and promoter of “QANON” the free-floating anti-rational meta-conspiracy theory and also an early advocate in 2020 of the need for Trump to seize power by force to ensure a second term.
The Debarkle (in particular peak Debarkle in 2015) presaged events in a microcosm but also later events clarify questions. At the time, it was an open question as to how politically extreme many of the Sad Puppy leaders where, there even people who attempted apparently good-faith arguments that Vox Day somehow wasn’t that extreme. Supporters of the Sad Puppies would often point to Sarah Hoyt (a woman and an immigrant to the US from a non-anglophone country) as clear evidence that the Sad Puppies were neither sexist or racist. I believe that even at the time the evidence demonstrated that their argument was flawed but with 2020 hindsight, the manner in which Hoyt refers to the VP-elect of the USA Kamala Harris is a much simpler refutation of the idea that she somehow is immune to sexism and racism.
Nor would it be sensible to write about the 2015 side-plot of the infamous Tor Boycott without pointing to Mad Genius blogger and one-time Castalia House author Peter Grant stating in the wake of yesterday’s attempt to overthrow the US constitution that: “If I were in D.C. today, I’d be in the Capitol along with the protesters.” If you’ve overtly placed yourself to the right of the leaders of the Republican Party (and for that matter the very right wing current Vice President of the US) and are contemplating civil war because you’ve fully bought into a stab-in-the-back mythology of stolen victory…well…”“extreme right wing to neo-nazi, respectively” was always a very apt description. How much time did we spend dissecting the various political positions that notable Puppies might have in an attempt to tease out the nuance of their politics? It’s a lot easier to sum up as “I’m not sure what they thought in 2015 but within five years they’ll be demanding the violent overthrow of the government in a far-right putsch.”
I’ll post more about the structure and the schedule of Debarkle as a blog series. Obviously, and as always, comments and corrections will be more than welcome, indeed expected — particularly as most of you were there at the time and many of you were actively involved in countering the Puppies for years before I stuck my oar in.
I haven’t linked to former Sad Puppy outlet Mad Genius Club in a long while and nor have I discussed my compatriot Dave Freer’s unusual anecdotes for some time. I am a man of some restraint but when Dave literally loses his shit how can I not link to it?
The background is that he has hinted for some time about a bureaucratic dispute he is having with the local government of Flinders Island, where he lives (off the coast of Tasmania). In today’s column he provides the context and well, the punchlines write themselves that I will leave it to readers to pick their preferred ones.
“One of my current one is where the local council with the power vested in them by the state, are protecting my neighbor from our (two people’s worth) sewage treatment wastewater. I live on a farm, a long, long way from a neighbor and we are both well above the wastewater outlet. The chance of my wastewater getting to a neighbor… would take a Biblical flood. And beside the fact that the poor fellow would be far too busy building an ark to care – the dilution would be hundreds of billions to one. But that doesn’t stop the council extracting hundreds of dollars for doing nothing of any value, and forcing me to spend thousands of dollars to achieve absolutely nothing that I couldn’t for five hundred, and harassing the hell out of me. The designer, plumber, the seller of the specialized bits the designer mandated did give some degree of ‘value’ for their rent (back of an envelope – about the same as trad publishing – where the writer earns around 6-8% on that paperback, and 93-94% go to these other fellows). Of course I don’t actually need any of those, and could achieve the same without them, but their services and goods are worth something, just nothing like what I have to pay — because the government mandates I use them, and pure rent-seekers make sure I do.”
Yes, poor persecuted Dave is being oppressed by the government who are making the unreasonable demand that he (checks notes) deals with his own faecal matter properly. I…no, no, there are just too many metaphors here to choose.
There is a lot of noise amid the right-SF social media sphere currently. It’s very free form and the broader cause is that in mainstream SF&F communities there has been the recent cases of some very prominent and well connected men being held accountable for the way they have been treating other people (earlier coverage). Although post-Puppies, the world of right-wing science fiction claims to have separated and living an idyllic SJW-free life, in reality ructions in mainstream SF&F are felt keenly in the breakaway bubble. The problem they have is working out a clear position. On the one hand various authors they dislike are having a bad time of things but on the other hand, powerful men are being held accountable for their actions against women. Bit of a tricky dilemma and hence we get to see various diversions attacking the ‘wokeness’ of mainstream SF&F (e.g. Dave Freer recently).
Another recent example is Cirsova magazine. Cirsova was, in many ways, a better attempt by the right-wing SF&F community to challenge their energies into something a bit more positive i.e. an on-going story magazine. Up until recently, it had largely avoided outrage marketing techniques. However, that changed on June 29 with the unintentionally funny announcement that they had declared that the SFWA was a terrorist organisation (File 770 coverage). Cirsova’s stance on terrorism had been notably absent during their long association with Vox Day’s Castalia House despite Day’s infamous support of convicted terrorist and mass-murderer Anders Breivik. (“Virtue signalling” could be the term for it if we could find any virtue signalled…)
I draw two big inferences from this:
This is another example of the diversions I talk about above
Sales/income must be bad for Cirsova. There is always a grift with right-wing SF&F. Always, and this is classic outrage marketing. [That observation got me instantly blocked on Twitter by Cirsova…]
On the second point, right-wing SF&F publishing has been contracting. There are still some big sellers (i.e. Larry Correia) but in the time since the Puppies stormed off with their own football from the field, Castalia House has stopped publishing new science fiction and Superversive Press has closed, various at attempts at alt-SFWA have fizzled and Sarah Hoyt is claiming she can’t get published by Baen any more. There’s still a right wing audience out there but it’s just not big enough to maintain a large number of authors and outlets and much of it is catered to by more generic military SF provided by less partisan groups like LMBPN.
On the first point…well the SFWA statement on Black Lives Matter was June 4. Cirsova’s counter-terrorism unit didn’t make its deceleration until twenty-five days later i.e. not until mainstream SF&F was having its own ructions and right-wing SF was trying to find a way to join in.
Let’s throw in a few other bad actors (n both senses of the term). So I was watching a video by Jon Del Arroz…that’s never a good start to a story nor is it something I would recommend. Anyway, JDA’s video was about another charmer Richard Fox. Remember Richard? Fox got a story nominated for a Nebula award courtesy of the 20booksto50K/LMBPN slate in 2019 (https://camestrosfelapton.wordpress.com/2019/03/02/nebula-shorts-going-dark-by-richard-fox/) and then had a bit of a melt-down in the comments section here partly when people noticed the similarity between him and a Goodreads commenter called “John Margolis” who wrote racially abusive comments to people who gave Richard bad reviews on Goodreads.
JDA was proudly announcing that “Nebula nominated” author Richard Fox was withdrawing his story from the Nebula Award anthology (yes, that story mentioned above) in solidarity with Cirsova. Notably, Fox’s author Facebook page and author website say exactly ZERO about this brave stand against ‘terrorism’. It’s not something Fox wants his regular readers to know but…well he’d like some of those Dragon Award votes from the people who are most likely to vote in them.
Long story short: various right wing science fiction people are generally agitated by the fact that some specific male SF authors (who happen to people they don’t like but are also powerful men…so a bit of a dilemma) are being held to account because of misogynistic behaviour and so are finding various random ways of acting out.
There’s a side-topic I’m trying to avoid (badly) covering mainly because it is 80% changing the subject from the actually topic du-jour i.e. shitty behaviour by authors in SFF and comics towards other people — mainly (but not limited to) sexual harassment and sexually exploitative behaviour. I more than alluded to it in this post because of the 20% of it that isn’t changing the subject (shitty behaviour in a community and how a community should respond without itself being shitty).
This post isn’t the post that I’m not writing but just a note to myself. The note is simply* pointing at a recent Mad Genius Club post by Dave Freer: https://madgeniusclub.com/2020/06/29/a-bonfire-of-vanities/ Which is fascinating in that it clearly is inspired by the current events in the science fiction community but is very firmly centred on the 80% changing the subject aspect of it.
That is fascinating. Put another way, people who we know have been demonstrably and outspokenly hostile to well being, peace and prosperity of the science fiction community would really like to change the subject from powerful male authors (none of whom they like, indeed Myke Cole is actively hated by the Puppies) being held to account.
*[OK not “simply” because I couldn’t help editorialising.]
A follow up to yesterday’s post. One rabbit-hole I had to stop myself running down was Eric Flint’s 2015 post THE DIVERGENCE BETWEEN POPULARITY AND AWARDS IN FANTASY AND SCIENCE FICTION. Eric Flint, often cast as the token left-winger of Baen’s stable, tread a difficult line during the Debarkle with many of his colleagues or professional collaborators (e.g. Dave Freer) very much advocating the Sad Puppy line. Flint’s overall position could be described as conceding that there was some sort of issue with the Hugo Awards but disagreeing with the tactic and rhetoric of the Sad Puppies and the underlying causes of the problem.
Flint’s diagnosis of the issue is explained in the post I linked to and can be summarised by this proposition:
“the Hugos (and other major F&SF awards) have drifted away over the past thirty years from the tastes and opinions of the mass audience”
This was not a post-hoc reaction to the Debarkle but a view he had held for several years:
Here’s the history: Back in 2007, I wound up (I can’t remember how it got started) engaging in a long email exchange with Greg Benford over the subject of SF awards. Both of us had gotten a little exasperated over the situation, which is closely tied to the issue of how often different authors get reviewed in major F&SF magazines.
[some punctuation characters have been cleaned up -CF]
Flint goes on to describes the issues he had trying to substantiate the feeling. He acknowledges that the basic issue with any simple analysis to corroborate his impression is that sales data is not readily available or tractable. He goes on to attempt to address that deficit of data in other ways. However, regardless of of his method (how much space book stores dedicate to given writers) his approach only address one part of what is actually a two part claim:
There is a current disparity between popularity of authors and recognition of authors in the Hugo Award.
Thirty years ago this was not the case (or was substantially less).
Now I have even less access to sales data than Flint and publishing has changed even further since even 2015. Nor do I have any way of travelling back to 1985 (or 1977) to compare book stores then with the Hugo Awards. Flint’s claim is far to subject to impressions and confirmation bias to really get a handle on. I could counter Flint’s more anecdotal evidence of current (at the time) big genre sellers unrecognised by the Hugo Awards with examples form 1985. An obvious one would Jean M. Auel’s whose Clan of the Cave Bear series was selling bucket load in the early 80’s and beyond (The Mammoth Hunters would have been cluttering up book stores in 1985). A more high-brow megaseller from 1985 would be Carl Sagan and Ann Druyan’s Contact, which, again, did not make into the Hugo list of finalists. Yet, these counter-examples lack bite because the Hugo’s missing a couple of books don’t demonstrate that Flint’s impression is wrong even if they help demonstrate that his evidence for the current (as of 2015 or 2007*) is weak.
However, Flint does go on to make a different kind of argument by using the example of Orson Scott Card:
“With the last figure in the group, of course,Orson Scott Card,we find ourselves in the presence of a major award-winner. Card has been nominated for sixteen Hugo awards and won four times, and he was nominated for a Nebula on nine occasions and won twice. And he was nominated for a World Fantasy Award three times and won it once. But… He hasn’t been nominated for a WFC in twenty years, he hasn’t been nominated for a Nebula in eighteen years, and hasn’t been nominated for a Hugo in sixteen years. And he hasn’t won any major award (for a piece of fiction) in twenty years. This is not because his career ended twenty years ago. To the contrary, Card continues to be one of our field’s active and popular authors. What’s really happened is that the ground shifted out from under him – not as far as the public is concerned, but as far as the in-crowds are concerned. So, what you’re really seeing with Orson Scott Card’s very impressive looking track record is mostly part of the archaeology of our field, not its current situation. As we’ll see in a moment, the situation is even more extreme with Anne McCaffrey and almost as bad with George R.R. Martin.
[some punctuation characters have been cleaned up -CF]
Well this is more tractable. We can track authors over time through the Hugo Awards and we can look at what we might call ‘windows’ in which they receive awards. So that’s what I did. I grabbed list of Hugo finalists for the story categories (novel, novella, novelette, short story), put them in a big spreadsheet, cleaned up all sorts of things as per usual and went to have a look.
I’ll save a lot of the data for another post. There are two big issues with looking at the data over time. The first is that there are built in patterns to the data that show changes overtime that arise just out of the data being collected. Back in 1953 a Hugo finalist could only possibly have been nominated that once. Likewise a first time Hugo finalist in 2020 has a hard limit on the span of years between their first and last Hugo nomination.
A different issue is exemplified by this grouping of data where span of years if the difference between the first year an author was a Hugo finalist to the last year.
Span of Years
1 to 5
6 to 10
11 to 15
16 to 20
21 to 25
26 to 30
31 to 35
36 to 40
fee-fi-fo-fum I smell the blood of a power-law distributi-um
More than half of the data set are one-hit wonders because everybody’s first go as a finalist is a one-hit wonder until they get their next one. That’s quite a healthy sign IMHO but I digress. 70% of the authors are in 0 to 5 year span but there a small number of authors who have large time spans of nominations. The top two being George RR Martin and Isaac Asimov (38 years and 36 years). This kind of data is not summarised well by arithmetic means.
I’ll save some of the geekier aspects for another time. Is there a shift in some of these spans recently? Maybe but both the structural issues with the data and (ironically) the Debarkle itself make it hard to spot.
What we can do though is look at specific cases and Orson Scott Card is a great example. He’s great because he undeniably fell out of favour with people by being an enormous arse and we can corroborate that externally from this data set. However! EVEN GIVEN THAT the table of groupings I posted shows us something that severely undermines Flint’s point.
Card’s Hugo span (last year as finalist minus first year as a finalist) is 14 years. That puts him in the top 14% of writers by Hugo span. Card has been very far from being short changed compared to other authors. These are his 14 year-span companions:
Min of Year
Max of Year
C. M. Kornbluth
Joan D. Vinge
Orson Scott Card
Robert J. Sawyer
Note that the group is from multiple decades. The broader 11-15 group includes writers like Frank Herbert, China Miéville, C. M. Kornbluth, Philip K. Dick, and John Scalzi. Now Miéville and Scalzi might still extend their span (as might Card but probably not).
Flint goes on to suggest that awards get more literary over time and maybe they do but looking at the data I think Flint is sort of seeing a phenomenon but misreading what it is.
I would suggest instead that Awards favour a sweet-spot of novelty. A work that is too out-there won’t garner enough support quickly enough to win awards. A work that is too like stuff people have seen before isn’t going to win awards either — almost by definition, if we are saying ‘this book is notable’ it has to stand out from other books. For the Sad Puppies or even the LMBPN Nebula slate, this was apparent in works that struggled to differentiate themselves from other stories in an anthology or another book in a series. Jim Butcher’s Skin Game (to pick a Debarkle example) was just another book in his long running series and not even a particularly good episode.
The same applies to some degree for authors. I am not saying John Scalzi will never win another Hugo Award but I don’t expect him to even though I think he’ll be writing good, entertaining sci-fi for many years. This is not because he’s not sufficiently left-wing for current Hugo voters but because we’ve read lots of John Scalzi now and sort of know what to expect.
A future equivalent of Eric Flint in 2036 may look back to 2006 and say “Back in the day the Hugos used to reward popular authors like John Scalzi. Look at the virtual-cyber shelf on Googlazon and you’ll see rows of Scalzi books up to his latest ‘Collapsing Old Red Shirt 23: Yogurt’s Revenge’ – why don’t the Hugo’s give him rockets any more!”**
The Hugo’s move on, it is true but they have repeatedly picked out not exactly brand new talent but authors when they are at a sweet spot of their careers. Yes some have much longer Hugo spans but they are unusual and many are the sci-fi giants of yore and others are people with long gaps between nominations.
Card actually had a good run but even without his more giant-arsehole like antics, it is very unlikely that he would have got a Hugo nomination any time soon. Note, for example, that Card has not yet been a Dragon Award finalist despite having eligible novels and despite the Dragons (championed by Flint) as supposedly addressing the popularity issue.
*[Or 2020, as I don’t think Flint has said everything is fine now.]
**[I suspect future John Scalzi will be more inventive than just rehashing his former hits but also I think he’d actually be quite brilliant at writing a parody pastiche of his own work.]
I got bored with my previous habit of checking on the clumsy articles at Quillette — the online magazine for people who want to be reassured that reactionary ideas are really quite nice if you stand on your head and squint at them for long enough. However, a recent article crossed into multiple aspects of my interests that I really thought I should write about it. Entitled “The Libertarian History of Science Fiction” (https://quillette.com/2020/06/12/the-libertarian-history-of-science-fiction/) it is not a particularly great examination of the topic but not so blisteringly awful as to be funny. In responding to it I appear to have gone off in many directions and have used many words and long run on sentences. So more after the fold…
Five years of all this nonsense but what nonsense were people reading and when? I’m down here in the archive stacks of Felapton Towers and blowing the dust off the weird old filing cabinets to find out. These posts are just the numbers-game hits rather than special favourites and often other factors drove the traffic to them.
The first year out for the blog and Puppy-kerfuffling was already in full on kerfluff.
I was downloading a report from an online database the other day and I was entering a date range. I wanted to cover the whole set of records which started in 2011. So I picked 2011/1/1 as the start date and that day’s date which I typed as 2018/5/8. What? I think my brain stopped updating the year and I’ve been stuck in 2018 ever since.
The reality dysfunction was going full-on as world politics got even stranger. Meanwhile this blog was forced into self-referentiality as I got caught up in my own Sad Puppy kerbungle and then later became a Hugo Finalist.
I don’t have a distinct four or five. The multiple themes of Jordan Peterson, weird alt-right trolling and self-reference sort of cover most of the big traffic posts for 2018. Seriously, that was a WEIRD year.
At the very start of January 2019 I considered winding down the blog. Later I decided to post something every day. I’m fickle. Surprisingly, it was the Nebula Awards that drove traffic to the blog.
A post really wasn’t coming together on all this stuff on the anti-lockdown ‘movement’ among the US right. However, I wanted a bunch of links in one place to come back to later. The whys and the hows and whos and how it all connects to money, oil and denial is sort of there. I intended just a list of links but you get a rambling post instead. Somehow Jonestown and the Last Jedi get connected in here. More after the fold.