You all remember Edelman’s First Rule of Convention-Going, also known as Edelman’s Schadenfreude Rule of Convention Reporting, don’t you?

It states that all convention reporting must occur while a convention is still ongoing, because it’s insufficient for me to be having a wonderful time. YOU must KNOW I’m having a wonderful time and be miserable because you’re not there also having a wonderful time, and kicking yourself, thinking, “If I jumped in my car, hopped on a plane RIGHT NOW, I could be having a wonderful time, too!”

Which is why I’m sharing the following video taken a scant 12 hours ago here in Columbus, Ohio at the World Fantasy Convention. Alaya Dawn Johnson read from a work in progress, and you could have been there.

Nyah, nyah, nyah!

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I’ve been so busy I only just realized that though I uploaded my final Readercon clips to YouTube long ago, I never mentioned it here. After my first convention outing with my new Flip camcorder, I posted a total of 13 videos from the weekend. Here are the final five clips.

First, some of the beginning and some of the ending from the panel on “The New and Improved Future of Magazines,” featuring John Joseph Adams, John Benson, Leah Bobet, Robert Killheffer, and Sean Wallace.

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A week ago today, Kit Reed, Mike Allen, Adam Golaski, Barry Malzberg, Kathryn Cramer, and Peter Straub (who can all be seen in that order in the clips below) took part in the Readercon panel, “Down There in the Gutter: The Fiction of the Unpleasant,” and I was in the front row recording it with my Flip MinoHD.

Here’s how the panel was described in the program book:

In a recent online essay, Peter Straub argues that the only difference between the best horror and “literary” fiction is that the former acknowledges that life is dominated by unpleasantness, by “crappy, low-rent feeling states.” But in making this argument he mentions neither fear nor disgust (the staples of genre horror) but shame, loss, envy, panic, greed, insecurity, and loneliness. There’s no question that we are oddly hardwired to enjoy fear when we intellectually recognize that there is no actual threat. There is, however, much less of a case to be made for the vicarious enjoyment of the other emotional states that Straub lists, so it is harder to see them functioning in a story the same way fear does in genre horror. Is Straub here in fact defining a new literary subgenre entirely, one that just happens to include (but is hardly limited to) the best of horror? If so, can we trace the history of this secret genre and its influence on and interaction with more conventional literary fiction?

Here are the three best chunks from that 55-minute hour. (more…)

I was too busy tweeting and shooting video at Readercon to take my usual number of photos. What few I managed to snap can be seen over at flicker.

And now I find I’m far too busy and tired to write up an account of the weekend. So for now, let this picture of me with Junot Díaz stand in for all the fun I had.

And for those of you who wish you could have been there, you can be. Sort of. Here are four more excerpts from Readercon panels I attended. (more…)

While at my favorite convention in 2010, I read my short story “Tell Me Like You Done Before,” which can be found in my collection of zombie stories, What Will Come After.

If you’re up to finding out what happened to George and Lenny after John Steinbeck got through with them, check out my reading below, which is embedded in three parts!

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And another thing you missed by not attending Readercon was me reading my short story “Tell Me Like You Done Before,” which can be found in my collection of zombie stories, What Will Come After.

If you’re up to finding out what happened to George and Lenny after John Steinbeck got through with them, check it out below!

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I’ve told you about something I call Edelman’s Schadenfreude Theory of Convention-Going, haven’t? If not, it goes like so—

It is insufficient for one to have fun at a convention. One’s friends must know about it and feel miserable for not being there with you! Therefore, all convention reporting must occur while the convention is still going on, so they can think, “Why aren’t I there?” So they can wonder, “Should I catch a plane right now to be there tomorrow and join in the fun?”

In that spirit, since words and picture aren’t enough to let you see what you’re missing, here’s VIDEO from a panel held at Readercon Thursday night. “I Know These People. Personally.” featured (from left to right in the clip below) John Langan, John Kessel, Elizabeth Hand (who moderated), Kit Reed, and Barry N. Malzberg.

And here’s how the panel was described in the program book:

“Writers,” Harlan Ellison famously claimed, “take tours in other people’s lives.” In his recipe for a two-month novel, Jeff VanderMeer advised, “Base at least some of your main characters on people you know and really like, BUT make sure they are not people you have spent a lot of time with.” The roman à clef aspects of Virginia Woolf’s Orlando or Philip K. Dick’s A Scanner Darkly may be clear enough, but what about that girl on the T with the really interesting face or that actor with the striking name? Using examples from their own work, our panelists explore the continuum between consciously employed technique and unavoidable side effect—the wages of the writer’s magpie mind.

Enjoy!

And remember—it’s only Saturday morning! There STILL time for you to get here yourself!

That Readercon schedule I shared with you a few days ago? You can ignore it. Because the committee put its finishing touches on the program today, and I can now share with you the full list of what I’ll be doing the weekend of July 8-11.

Though I’ll be arriving at the con Thursday, my official participation doesn’t begin until the next day, with a very busy Friday:

Theodore Sturgeon Short Story Readings
Friday, 11:00 a.m., Room 730
Twenty-five years after Sturgeon’s death, Readercon is organizing a set of readings of some of his best stories by authors who love his work. The readings also celebrate the upcoming publication of the thirteenth and final volume of The Complete Stories of Theodore Sturgeon by North Atlantic Books, edited by Paul Williams. The stories being read demonstrate Sturgeon’s unusual range, comprising fantasy, sf, horror and comic pieces. They will be moderated by his daughter, Noël Sturgeon, who is the Trustee of the Theodore Sturgeon Literary Trust. (I’ll be reading “It Was Nothing—Really!”)

Reading
Friday, 5:00 p.m., Room New Hampshire/Massachusetts
This is when I’ll be reading one of my own stories. What will I read? I haven’t figured that out yet. But it will be something I’ve never read at a Readercon before.

Why Aren’t I Repeating Myself? Why?
Friday, 8:00 p.m., Salon F
with David Anthony Durham, Patrick O’Leary, Paul Park, Jennifer Pelland, and Michael Swanwick
Some writers hone a single approach for their entire careers, while others are much likelier to produce work that is, by their own track record, sui generis. Why are these writers driven to explore new genres, styles, themes, and structures, when most of their peers need less variety? Is it simply a product of having wide-ranging interests? Or something deeper? Since we suspect that many such writers may find the phenomenon mysterious to themselves, we encourage them to trade notes about their specific motivations for writing works that took them to new stylistic, structural and thematic territory.

The Cordwainer Smith Rediscovery Award: The History So Far
Friday, 9:00 p.m., Maine/Connecticut
with John Clute, Alan Elms, Barry Malzberg, and Gordon Van Gelder
One of the founders of the award [Alan Elms] is joined by past and present judges and all is revealed. How did Smith’s daughter and Elms and Benko come to found the Cordwainer Smith Foundation? Where did the idea for the Award come from? How have the judges been chosen, and how have they gone about choosing the winners? How did the Award come to Readercon? To be followed immediately by the presentation of this year’s award (across the corridor).

The Double-Driven Story
Sunday 2:00 p.m. Salon G
with Felix Gilman, John Kessel, Marilyn Mattie, and Graham Sleight
We divide stories into “character-driven” and “plot-driven,” but in fact many stories aspire to a perfect confluence of protagonist and plot. In these “double-driven” stories, there exists a mutual need and intimate fit between the two elements: the one adolescent whose precognitive powers could enable a planetary revolution, the one ruler whose extraordinary past qualifies him to outlaw torture. This notion is a useful critical tool: imagine how much better the Foundation series would have been if we’d had a genuine sense of Hari Seldon and the forces in his life that led him to invent psychohistory. We’ll look at double-driven stories and examine how understanding this structure can yield insight into why certain stories work as well as they do.

See you there!

Readercon is my favorite convention of the year, and has been for decades. This year’s installment, coming up July 8-11, will be the 21st, and I’ve been to them all. Here are the two panels on which you’ll be able to find me pontificating.

(In addition to these appearances, I’ll also be reading Ted Sturgeon’s “It Was Nothing—Really!” as well as a story of my own during the weekend at times yet to be determined.)

Why Aren’t I Repeating Myself? Why?
Friday, 8:00 p.m., Salon F
with David Anthony Durham, Patrick O’Leary, Paul Park, Jennifer Pelland, and Michael Swanwick
Some writers hone a single approach for their entire careers, while others are much likelier to produce work that is, by their own track record, sui generis. Why are these writers driven to explore new genres, styles, themes, and structures, when most of their peers need less variety? Is it simply a product of having wide-ranging interests? Or something deeper? Since we suspect that many such writers may find the phenomenon mysterious to themselves, we encourage them to trade notes about their specific motivations for writing works that took them to new stylistic, structural and thematic territory.

The Double-Driven Story
Sunday 2:00 p.m. Salon G
with Felix Gilman, John Kessel, Marilyn Mattie, and Graham Sleight
We divide stories into “character-driven” and “plot-driven,” but in fact many stories aspire to a perfect confluence of protagonist and plot. In these “double-driven” stories, there exists a mutual need and intimate fit between the two elements: the one adolescent whose precognitive powers could enable a planetary revolution, the one ruler whose extraordinary past qualifies him to outlaw torture. This notion is a useful critical tool: imagine how much better the Foundation series would have been if we’d had a genuine sense of Hari Seldon and the forces in his life that led him to invent psychohistory. We’ll look at double-driven stories and examine how understanding this structure can yield insight into why certain stories work as well as they do.

I hope to see you there!

Those of you who attended Readercon last July can skip this entry. But as for the rest of you …

I’ve attended every Readercon since the first, back in 1987, the only non-committee member to have done so. When the con runners asked for appreciations to print in the program book on the occasion of its 20th installment, I decided to do something no other attendee was capable of doing—write up my thoughts on all 19 cons that preceded it.

Since I’ve been keeping an almost daily diary since 1978, I went back and pulled out one anecdote per year, to which I added clarifying footnotes. In a few instances, Eric Van added footnotes as well.

In any case, I’ve had several requests for copies of this essay, so I thought I’d toss it out onto the interwebs. It should explain to anyone’s satisfaction why Readercon has always been my favorite con.