Readercon 25

This Year's Program Schedule

Complete Readercon 25 Program Guide (PDF)

Conference Schedule with item descriptions

Thursday, Friday, Saturday, and Sunday program grid (PDF version, Excel version)

If you have a smartphone, you can access our schedule, maps, restaurant guide, and more by bookmarking the Readercon Guide in your browser. It's a web page that works like a mobile app, so your browser should cache all of it and make it work when you're offline as well. The guide should work on most computers, phones, and tablets that have some sort of relatively modern web browser, though on Windows phones the "Next" view may be buggy.


There are three things you can do while at Readercon during the day: talk to friends, browse and patronize the Bookshop, or attend the program. This is a significantly shorter list than provided by other science fiction conventions (which typically include an art show, gaming, musical performances, and so on).  It's thus not an exaggeration to say that Readercon is all about the program.  As we used to say, it's not just the heart of the convention, but also the lungs, brain, liver, and kidneys.


Readercon covers the whole of imaginative literature (or "speculative fiction") from hard science fiction to fantasy, horror, and the unclassifiable, but with a special emphasis on the most literary, ambitious, and cutting-edge work in the field. Our regular Program Participants include writers, editors, publishers, and critics from the Northeast, and those from around the world with a special affinity for our emphasis.

Each year, we further supplement the program with experts on individual program items, such as our panel discussions appreciating the works of our Guests of Honor.

Readercon Program Participants pay no membership fee. Our Program Guide includes brief bio-bibliographies of all participants, and an index of their appearances at the convention.

Participant and Panel Suggestions

Much of the credit for Readercon's programming goes to our program participants, and we're always looking for exciting new people to add to their ranks. If you would like to apply (or suggest someone) to be added to our invitation list, please submit an extremely persuasive application using this form. We are especially eager to recruit scientists, historians, artists and musicians, and others who work in fields of interest to genre fiction writers and readers.

Readercon is committed to diversity in its program; we believe a wide range of voices makes for better conversation. We strongly encourage members of minority and underprivileged groups to apply. While no one is required to provide information on race, ethnicity, national origin, sex, gender, religion or lack of religion, sexual or relationship orientation, age, or other personal characteristics, if that information is provided we will take it into consideration when we build our program. If you are suggesting someone other than yourself, please do not provide contact information, minority status, or other personal information without that person's explicit prior permission.

If you would like to suggest a program item, please do so using this form. We welcome anything from interesting links and vague concepts to full-fledged proposals complete with suggested panelists. Be adventuresome and creative; remember that Readercon's program starts where other conventions leave off. The programs for our past conventions, which may be perused using the links in the sidebar, will give you an idea of what we're looking for.

If you are a past Readercon program participant or have received an invitation to the upcoming convention, and you would like to submit a proposal for a solo talk, performance, discussion, workshop, special-interest panel, or group reading, please use this form (which also provides definitions of those terms). If you've never been a Readercon program participant and have not received an invitation, please submit an application first.


The form and content of the Readercon program are shaped by the following principles:


  • The broad range of interests and tastes of our attendees should be recognized and satisfied. In terms of genre, attendees may be into any combination of hard science fiction, literary sf, fantasy, horror, or "slipstream" (unclassifiable non-realistic) fiction. They may be variously interested in the writing and reading processes, in editing and publishing, and in the criticism and teaching of sf. They may like to hear panel discussions more than author readings or solo talks or discussions, or vice versa.
  • There should be something of interest every hour for all but the most narrowly-focused attendee.
  • It's better to force someone to choose between two attractive alternatives than to leave them with nothing of interest in a given hour. However, items with obviously overlapping interest should not be held simultaneously.
  • There should be enough programming to keep our program participants reasonably busy: at least one item for everyone, a handful or more for our best speakers.

We've found that we can satisfy these principles by featuring the following simultaneously:

  • Two panel discussions featuring five (or occasionally six or four) participants, usually including a "leader" who both directs and takes part in the discussion (sometimes with the more traditional "moderator" who directs but doesn't opine). The participants sit in arm chairs in front of coffee tables, rather than behind the usual table. Usually, the last ten minutes or so are devoted to questions from the audience, but the leader is free to solicit audience input at any stage. Although some of the panels are based on ideas given to us by the participants, they are all ultimately the brainchildren of Readercon's Program Subcommittee (see below).
  • Two tracks of author readings. Usually, each consists of a pair of compatible 30-minute readings, but there are 60-minute readings as well. Unlike nearly every other convention, we give you the title (and sometimes a descriptive blurb) in the Program Guide.
  • Two tracks of solo talks and/or discussion groups (the "mini-tracks"), usually 60 minutes long, sometimes 30. Unlike the panel discussions, these are the brainchildren of the individual presenters or discussion group leaders.
  • Two author Kaffeeklatsches — an intimate get-together between an author and up to 15 readers (who sign up in advance).
  • Two autograph sessions in the Bookshop.

The items in any hour are carefully selected to avoid overlaps of genre and topic. If there's a hard sf panel discussion, there will rarely if ever be a hard sf author doing a reading, autograph session, or the like at the same time. (There's another reason for this: we want them in the audience of the panel discussion). If there's a panel we deem useful to aspiring writers (who are legion in our audience), it will not be up against a solo talk about writing. In fact, someone with a fairly narrow set of interests should be able to pick and choose their way through the program: first a panel discussion about fantasy, then a reading by a fantasy author, now a discussion, another panel, a Kaffeeklatsch, and so on. The attendee with broader tastes finds themselves (we hope) at a sumptuous but well-balanced buffet.


Very simply, we pride ourselves on doing panel discussions you haven't seen at previous sf conventions. We develop our ideas at meetings of our Program Subcommittee (there were ten of us this year, which is to say roughly half of the entire convention committee). If we have a driving principle, it's to start the panel at the right point, which is often roughly where the typical panel on the topic ends. In other words, we strive for panels that ask the next question (the driving cognitive philosophy of sf great Theodore Sturgeon, Memorial GoH at Readercon 2).

If this sounds attractive (or like a bold claim we need to back up), we urge you to read through the programs of past Readercons!


The convention begins Thursday at 8:00 PM with programming open to the public. (There's no registration, and we provide a handout with the evening's schedule in lieu of the full Program Guide.) Programming runs until 10:00 PM and consists of a relatively intimate, stripped-down version of what's to follow: a track or two of panels, a track of solo talks/discussions, and two tracks of readings.

Friday we begin at 11:00 AM with a full slate of our multi-track programming (local attendees who take the day off will thus be rewarded with the same wealth of programming that our out-of-towners enjoy). Since many local attendees do arrive after work and hence at dinner time, there's no dinner break. Special events start at 10:00 PM.

Saturday's full schedule runs from 10:00 AM to 4:00 PM. After 4:00 PM, there are yet more special events sandwiched around a dinner break. As has become traditional, we have scheduled a half-program (one track of readings, two of panels and solo talks/discussions) during Saturday evening from 6:00 to 8:00 PM. A Most Readerconnish Miscellany runs from 8:00 to 10:00 PM.

Sunday programming begins at 10:00 AM and ends at 3:00 PM.

While there are no lunch breaks at Readercon, we do try to populate the lunchtime hours with some of our more specialized programming — and if that fails, there's a concession stand that sells very satisfying sandwiches!

Traditional Items

While the bulk of the program items at every Readercon are novel, there are a handful that you can count on:

  • "Welcome to Readercon" on Friday: a great way for folks attending their first Readercon to meet some of the regulars and get into the spirit of the weekend.
  • A set of panels appreciating the career and works of our guests of honor, and of the outgoing Cordwainer Smith Rediscovery Award winner.
  • The "Absent Friends" memorial discussion of recently deceased writers, editors, artists, and fans.
  • Book clubs: in-depth discussions of some of the major works of the field.
  • Talks called "How I Wrote/Edited/Illustrated/Created [Title]." The titles, all recent works, are announced on the web site in June, and you're urged to read as many as possible before the con. (One of our past slogans was "The con that assigns homework!")

Special Events

  • The presentation of the annual Cordwainer Smith Rediscovery Award, Friday night at 10:00 PM. This is followed by:
  • The Meet the Pros(e) Party. This is a chance to not only meet the program participants, but also a fragment of their work! See the program listing for any recent convention for the details.
  • Interviews with our Guests of Honor from 4:00 to 6:00 PM on Saturday. Our Guests of Honor are eminent and interesting enough that we don't need to program anything else (except an open Bookshop) opposite them.
  • A Most Readerconnish Miscellany from 8:00 to 10:00 PM on Saturday. This fabulous variety show of readings, music, and theatrical performance will benefit Operation Hammond and the Boston Area Rape Crisis Center; please bring cash or credit cards if you'd like to make donations to these very worthy organizations. See the program listings below for a complete description.
  • The Shirley Jackson Awards Sunday morning. Jackson (1916-1965) wrote such classic novels as The Haunting of Hill House and We Have Always Lived in the Castle, as well as one of the most famous short stories in the English language, "The Lottery." Her work continues to be a major influence on writers of every kind of fiction, from the most traditional genre offerings to the most innovative literary work. The Jackson Awards have been established in her name for outstanding achievement in the literature of psychological suspense, horror, and the dark fantastic; they are voted on each year by a jury of professional writers, editors, critics, and academics, with input from a Board of Advisors. Awards are presented in six categories: Novel, Novella, Novelette, Short Story, Single-Author Collection, and Edited Anthology. Readercon has hosted the Jackson Award ceremony from its inception in 2008 and is delighted to host it once again.


Readercon records audio and video of many program items, and is in the process of making those recordings accessible to the public as part of our educational mandate. Anyone who would like to individually record a program item and make that recording public is welcome to do so with the prior consent of the program participants. Attendees should be aware that audience contributions are often captured on these recordings.

For recordings of past Readercon program items, see our media page and our YouTube channel.

Program Schedule

Thursday, Friday, Saturday, and Sunday program grid (PDF version, Excel version)

    Thursday July 10

  1. 8:00 PM    F    Many Things Worry You, but Nothing Frightens You: Outgrowing Horror. Leah Bobet, Ellen Datlow, Elizabeth Hand (moderator), Kit Reed, Graham Sleight, Sonya Taaffe. In the Nightmare Magazine essay "The H Word: The Failure of Fear," Dale Bailey wrote about enjoying horror despite no longer finding it horrifying. How does what scares us change as we age? How does horror written for children differ from horror written for adults? Can you outgrow horror, or are adults and children simply frightened by different things?
  3. 8:00 PM    CR    The Map and the Story. Jonathan Crowe (leader), Chris Gerwel, Greer Gilman, Shira Lipkin. Maps are a familiar sight in our field, but lately a number of stories have placed maps and cartography at the core of the story itself. Maps serve as portals to other worlds, cartographers remake the world in a map's image, and mapmaking itself becomes a means to discuss the distance between perception and reality, between the map and the territory. Panelists will discuss the ways in which maps and cartography have escaped from the endpapers in recent works of fiction.
  4. 8:00 PM    ENL    East, West and Everything Between: A Roundtable on Latin@ Speculative Fiction. Matthew Goodwin, Carlos Hernández, Daniel José Older, Julia Rios, Sabrina Vourvoulias (leader). This freeform conversation will look at where we've been, where we're going, the challenges of representing our own particular cultures within the umbrella term "Latin@," and the challenges of being Latin@ within a overwhelmingly Anglo genre. Are there insurmountable differences in regional Latinidad? Do we have to choose between being “vendidos” (sell-outs) or “pelados” (surviving—barely—by our wits)? Can we build platform in two languages (and if so, how)? How are we combatting the “Latinos don't read/Latinos don't write” fallacy?
  5. 8:00 PM    EM    Reading: Catt Kingsgrave. Catt Kingsgrave. Catt Kingsgrave reads selections from the anthology, A Thing of Rags and Patches.
  6. 8:00 PM    ENV    Reading: John Chu. John Chu. John Chu reads an excerpt of A Cost-Benefit Analysis of the Proposed Trade-Offs for the Overhaul of the Barricade which will be published at at the end of July.
  7. 8:30 PM    EM    Reading: Erik Amundsen. Erik Amundsen. Erik Amundsen reads Jupiter and Gentian Forthcoming in Apex.
  8. 8:30 PM    ENV    Reading: Adrienne J. Odasso. Adrienne J. Odasso. Adrienne J. Odasso reads selections from both published and unpublished work to date.
  9. 9:00 PM    F    Theater and the Interrupted Ritual . C.S.E. Cooney, Greer Gilman, Andrea Hairston (moderator), Kenneth Schneyer. Theater theorists have put forth the idea that most theater begins with an interrupted ritual. This goes back to ancient Greek theater, which generally literally began this way, but in modern theater we see this in more subtle ways, with characters making a cup of tea or sorting the mail when someone else comes in. At Arisia 2012, Andrea Hairston talked about theater and performance being tied to spiritual practice, which resonates with the idea of the interrupted ritual. How does this idea relate to storytelling in general, and what can writers do with it?
  10. 9:00 PM    G    What Won't You Write?. John Chu, Kameron Hurley, David Shaw (moderator), Romie Stott. Charles Stross has said publicly that he won't write about children being harmed or exploited. Seanan McGuire refuses to write about female characters being raped. Many other writers have no-go topics. Panelists will discuss their personal choices for off-limits subject areas, and their reasons for the ban.
  11. 9:00 PM    CR    Where Is Clarion for Editors?. Leah Bobet, Ellen Datlow, Liz Gorinsky, Bart Leib, Julia Rios, Cecilia Tan (leader). The speculative fiction field has many workshops for writers, such as the various Clarions, Odyssey, and Viable Paradise, not to mention MFA programs like Stonecoast where one can do genre work. But where's the "Clarion for Editors"? Some of the most vital work being done in our field is coming from web magazines, small publishers, digital publishers, and others who are largely forced to learn to edit "on the job." This discussion, led by Cecilia Tan, will examine the need for a structured workshop for aspiring and established editors, and propose ways that such a workshop might be made to happen.
  12. 9:00 PM    ENL    Readercon Classic Fiction Bookclub: Memoirs of a Space Woman. Amal El-Mohtar, Lila Garrott (leader), Sonya Taaffe. Naomi Mitchison's 1962 exploration of a life lived nearly entirely in space has deep humanist themes. Mary's specialty in alien communication leads to a life and profession of embracing the Other, literally realized in her accidental pregnancy via a Martian. We'll discuss criticisms of the book's heteronormativity and biological determinism as well as the themes of Mary's immersion in alien cultures.
  13. 9:00 PM    EM    Reading: Shira Lipkin. Shira Lipkin. Shira Lipkin reads recent short fiction and poetry.
  14. 9:00 PM    ENV    Reading: Bud Sparhawk. Bud Sparhawk. Bud Sparhawk reads The Suit - published in Analog.
  15. 9:30 PM    EM    Reading: F. Brett Cox. F. Brett Cox. F. Brett Cox reads "Where We Would End a War," a new short story, forthcoming in the original anthology War Stories, ed. Jaym Gates and Andrew Liptak (Apex, 2014).
  16. 9:30 PM    ENV    Reading: Ben Loory. Ben Loory. Ben Loory reads a selection of new stories.
  17. Friday July 11

  18. 11:00 AM    F    Empathy, Identification, and Stories . L. Timmel Duchamp (moderator), Andrea Hairston, Matthew Kressel, Julia Rios, Walt Williams. At a panel at Arisia 2013, Andrea Hairston said, "I can only tell you a story if you're a human who can hear a story and imagine what it's like to be someone who isn't you." Tannanarive Due added that access to stories matters: some children, for instance, can easily find books about characters like themselves, while others have to read books from outside a position of identification. Culture creates structures of identification and empathy; or, to put it another way, ways of feeling from within and ways of feeling from without. How do stories create structures of feeling, and how can writers and readers both benefit from awareness of these structures?
  19. 11:00 AM    G    This Whole Situation Is Monstrous!: Supernatural Excuses for Abusive Behavior. Leah Bobet (leader), Liz Gorinsky, Catt Kingsgrave, Natalie Luhrs, Veronica Schanoes, Peter Straub. Paranormal romance for adults and teens often provides supernatural excuses for abusive behavior. For example, in Cassandra Clare's The City of Lost Souls, a character's abusive behavior as a teenager stems from his confusion over being turned into a werewolf. Years later the teens reunite, explanations are given, and the boy's redemption story briefly takes center stage in the narrative. Instead of focusing on abusers' redemption through human aspects overcoming monstrous aspects, and obscuring the unpleasant truth that abuse is a very human behavior, is there a better way to use the supernatural to talk about abuse?
  20. 11:00 AM    CR    Teaching the Ghost Story: A Seminar for Instructors. Erik Amundsen, Michael Dirda, Gemma Files, Jack Haringa, Glen Hirshberg (leader). This presentation and conversation will help help instructors inspire fresh, compelling new work in the ghost story genre. Longtime writing teacher Glen Hirshberg will go over essential principles that all instructors will find useful when teaching writers of all levels, and will open the floor for the sharing of tips and techniques.
  21. 11:00 AM    ENL    Everything in Moderation: How to Moderate . E.C. Ambrose, Leah Bobet, Jim Freund, Victoria Janssen (leader), James Patrick Kelly. An exceptional moderator is usually someone who has moderated panels in the past, understands the subject matter, knows a bit about the panelists, and realizes that they are there to guide the conversation—not to impress the audience with their brilliant insight. Good moderators know that you are here for the panelists, and they work hard to coax the quiet panelists into the discussion and nicely shut down the the hijackers. Moderation is a skill and an art. We invite you to learn from our best.
  22. 11:00 AM    EM    Reading: Elizabeth Hand. Elizabeth Hand. Elizabeth Hand reads from Wylding Hall.
  23. 11:00 AM    ENV    Reading: Cecil Castellucci. Cecil Castellucci. Cecil Castellucci reads from her new novel Tin Star.
  24. 11:30 AM    ENV    Reading: C.S.E. Cooney. C.S.E. Cooney. C.S.E. Cooney reads from an unpublished novel "Miscellaneous Stones: Assassin," and/or various other published or unpublished works.
  25. 12:00 PM    F    The Past Is a Terrible Place. K. Tempest Bradford (leader), Christopher Cevasco, John Chu, Adrienne J. Odasso, Walt Williams. Compared to the present day, the past was filthy, bigoted, stratified, polluted, violent, and crude—whether thousands of years ago or yesterday. What possible appeal could travel into the past have? How does it vary based on your current socioeconomic status, or on the status you have (or can acquire) in the past with your knowledge of history, technology, and sociology? We'll discuss various depictions of travel into the past, including Octavia Butler's Kindred, Connie Willis's Doomsday Book, and Eric Flint's Ring of Fire series.
  26. 12:00 PM    G    Being an Editor Who Writes. Scott Edelman, Michael Kandel, Sandra Kasturi, Barbara Krasnoff (moderator), Warren Lapine, Ian Randal Strock. Few people haven't heard of the editor-as-failed-author stereotype. Being both an editor and an author means living with your own harshest critic—yourself. While some editors-to-writers avoid this pitfall by writing nonfiction, there are those who manage to straddle the line, and even find success as fiction writers. How do they manage to quiet the inner editor, and how do they know when to turn it back on?
  27. 12:00 PM    CR    Welcome to Readercon. Graham Sleight, John Stevens, Emily Wagner (moderator). Tropes, "reading protocols," "the real year" of a book, "slipstream" fiction, "fantastika," "intrusion fantasy": Readercon panel blurbs (and hallway conversations) borrow vocabulary from a wide range of sources that new attendees may not have encountered. Veterans of other conventions may also be wondering where the costumes and filkers are. Readercon regulars and concom members provide a newcomer's guide to Readercon's written policies and well-worn habits as well as a rundown of our favorite critical… um... tropes.
  28. 12:00 PM    ENL    The Life of Mary Shelley. Gwynne Garfinkle, Theodora Goss, Theodore Krulik (leader), James Morrow, Adrienne J. Odasso. A cartoon by Kate Beaton shows Mary Shelley mired in misery over her recent miscarriage and having to constantly fend off Lord Byron's advances. She cries "Oh God this is monstrous!" before running off, presumably to write Frankenstein. We'll take a slightly more nuanced look at the factors in Mary Shelley's life that place her in the right place at the right time to make her such an influential force in the speculative genre.
  29. 12:00 PM    EM    Broad Universe Rapid Fire Reading. Terri Bruce (leader), Lisa (LJ) Cohen, Randee Dawn, Justine Graykin, Ellen Larson, Jennifer Pelland, Morven Westfield, Trish Wilson, Phoebe Wray. Broad Universe is a non-profit association dedicated to supporting women in science fiction, fantasy, horror, and related genres. The group's signature event is the Rapid Fire Reading, wherein up to 10 members read short excerpts of their work.
  30. 12:00 PM    ENV    Reading: Matthew Kressel. Matthew Kressel. Matthew Kressel reads from a new, unpublished short story.
  31. 12:30 PM    ENV    Reading: L. Timmel Duchamp. L. Timmel Duchamp. L. Timmel Duchamp reads from a novel in progress.
  32. 1:00 PM    F    Book Recommendations from Professional Readers. Adam Lipkin, Sofia Samatar (leader), John Stevens, Liza Groen Trombi. Booksellers, librarians, and book reviewers specialize in helping readers find and appreciate books new and old. This panel will let such folks tell you about the recent and upcoming titles they're excited about, and help you discover books you'll likely love. Do you adore Octavia Butler, "Sherlock" fanfic, and Tolstoy ... but don't know what to read next? Let these professionals help you find your next favorite book!
  33. 1:00 PM    G    The Difference Between Magic and Science . Max Gladstone, Lev Grossman, Andrea Hairston, Kenneth Schneyer (leader), J.M. Sidorova. In an interview with Avi Solomon, Ted Chiang proposed that "The difference between magic and science is at some level a difference between the universe responding to you in a personal way, and the universe being entirely impersonal." How can we complicate this statement? Are there magic systems that are entirely impersonal, and if so, are they indistinguishable from science and technology? Is science only possible in an impersonal universe? How do we make allowances for the personal applications of science and the impersonal applications of magic, and where do the boundaries between them lie?
  34. 1:00 PM    CR    The Science of Space Colony Living. Lisa (LJ) Cohen, Glenn Grant, Geoff Hart, B Diane Martin (leader), Allen Steele, Ian Randal Strock. Before the 1970s, not much science went into designing how people would live in space colonies either in zero-g or on other planets. In the 1970s NASA funded the now late Princeton physicist Gerard O'Neill to come up with what space colonies would look like. His work gave us alternative human habitats beyond the Earth that included giant rotating spaceships containing landscaped biospheres. Over the past ten years there has been much more discussion about space colonies and the science involved in answering the question: What will it take to set up colonies in space?
  35. 1:00 PM    ENL    Dystopian Economies. Romie Stott. Romie Stott's "Economic Systems Past and Present" talk at Readercon 24 provided an overview of the economic terms and tools available to writers. This stand-alone follow-up talk will focus on dystopian economies. Stott will discuss what corporate states could look like (essentially, what happens if current multinationals get even more powerful and/or develop space programs), as well as other un-free economies like prestige economies and the ways conspicuous consumption and patronage change power structures. The talk will wrap with theorized utopian economies and why they are not likely to sustain expansion to a global (or universal) level, and more odds-favored ways heroes might seek to limit dystopia.
  36. 1:00 PM    EM    Latin@ Writers Read. Carlos Hernández, Daniel José Older, Julia Rios, Sabrina Vourvoulias (leader). In concert with the 'East, West, and Everything Between' roundtable about Latin@ SFF, panel participants will read from their own work and/or work of other Latin@ writers.
  37. 1:00 PM    ENV    Reading: Gwynne Garfinkle. Gwynne Garfinkle. Gwynne Garfinkle reads from an ongoing series of poems inspired by classic films, TV, and pop culture.
  38. 1:30 PM    ENV    Reading: Caitlyn Paxson. Caitlyn Paxson. Caitlyn Paxson reads excerpts from a YA novel described as "Buffy meets The Magician's Nephew."
  39. 2:00 PM    F    When the Magic Returns. John Chu, Max Gladstone, Daryl Gregory, Lev Grossman, Victoria Janssen (leader). The "return" of magic into a mundane world is one of very few ways in which we see fantasy set in the future. Why is this? What makes fantasy and futurity so incompatible? Why is the return of magic so often associated with apocalypse, while its banishment is usually the consequence of scientific or industrial progress? From Aarne-Thompson tale types like Richard Corbet's "The Fairies' Farewell" to Kim Harrison's Hollows series, panelists will talk about the ways in which magic-as-technology can be explored.
  40. 2:00 PM    G    I'm a Believer. Graham Sleight. Graham Sleight discusses the question of belief in sf and fantasy. What do we mean when we say we find a story believable? How much do stories require or demand our belief? And how much do characters have to believe the stories they're in? Authors mentioned include Jane Austen, John Crowley, Dante, Greer Gilman, M. John Harrison, Kelly Link, Ursula K. Le Guin, Kim Stanley Robinson, John Scalzi, and Jo Walton—as well as the theories of Brian Attebery, John Clute, Thomas M. Disch, and Farah Mendlesohn. Sleight's scribbled notes for the talk also suggest that it will discuss Cecil and Carlos, branding theory, hard SF, the Hovercraft of Disbelief, Monty Python, and Matt Smith. Probably.
  41. 2:00 PM    CR    Interstitial Arts Foundation Town Hall. Christopher Barzak, K. Tempest Bradford, Ellen Kushner (leader), Sofia Samatar, Delia Sherman. The IAF is a group of “Artists Without Borders” who celebrate art that is made in the interstices between genres and categories. It is art that flourishes in the borderlands between different disciplines, mediums, and cultures. The IAF provides border-crossing artists and art scholars a forum and a focus for their efforts. Rather than creating a new genre with new borders, they support the free movement of artists across the borders of their choice. They support the development of a new vocabulary with which to view and critique border-crossing works, and they celebrate the large community of interstitial artists working in North America and around the world. The annual Interstitial Arts Foundation Town Meeting at Readercon is an exciting opportunity to catch up with the IAF and its many supporters, hear about what they're doing to support the interstitial art community in 2014, offer ideas for future projects, and contribute your voice to the development of interstitial art.
  42. 2:00 PM    ENL    The Works of Kit Reed. F. Brett Cox (leader), John Stevens, Gary Wolfe. In a long and remarkable career, it's easy to agree with Reed's own description of herself as "transgenred." Paul Kincaid recently wrote, in reviewing The Story Until Now, that "there is no simple way of talking about Kit Reed's fiction," and Andrew Ervin commented that the collection "demonstrates the extent to which contemporary, literary fiction is finally catching up to the sorts of stories she has been penning for half a century." This is not only true of the challenging and unsettling short fiction Reed have been publishing since 1958, but of her gender-challenging novels, including the SF classic Armed Camps and the recent, no less provocative Son of Destruction. Throughout a six-decade career that has never flagged, her deeply penetrating, often hilarious, and always perceptive take on American culture and character has created a body of work that Readercon is delighted to honor.
  43. 2:00 PM    EM    Fearful Symmetries Group Reading. Nathan Ballingrud, Gemma Files, John Langan. Fearful Symmetries is a new all-original anthology edited by Ellen Datlow, published by Chizine Publications.
  44. 2:00 PM    ENV    Reading: Barry Longyear. Barry Longyear. Barry Longyear reads an excerpt from the current sf novel-in-progress, The War Whisperer.
  45. 2:00 PM    CL    Kaffeeklatsch. Neil Clarke, Scott Edelman.
  46. 2:00 PM    E    Autographs. Chesya Burke, Lisa (LJ) Cohen.
  47. 2:30 PM    ENV    Reading: Paul Tremblay. Paul Tremblay. Paul Tremblay reads selections from the upcoming, co-written YA novel, Floating Boy and the Girl Who Couldn't Fly.
  48. 3:00 PM    F    Plot Without Conflict. Liz Duffy Adams, F. Brett Cox (leader), Samuel Delany, Eileen Gunn, Shira Lipkin, Anil Menon. In Western writing, conflct is considered essential to plot. The classic three- and five-act structures taught in writing courses and workshops revolve around a central conflict. But does plot require conflict? The Japanese kishōtenketsu structure is built on four acts: introduction, development, twist, and reconciliation—best known to Western readers as the structure of four-panel manga. Deep and rich stories are told within this structure, which, by comparison, shows the three-act structure to be fundamentally confrontational. What can writers steeped in Western notions of plot conflict learn from a careful analysis of alternate structures?
  49. 3:00 PM    G    Speculative Fiction and World War I. John Clute, Felix Gilman, Victoria Janssen (leader), Jess Nevins, Graham Sleight, Sonya Taaffe. On 28 July 1914, Austria-Hungary declared war on Serbia, and World War I began. Hugo Gernsback had not yet named science fiction at the time, but proto-SF stories inspired by the war exist, many early SF writers would draw inspiration from their experiences of the wartime era, and alternate history stories of WWI are numerous. WWI had a tremendous effect on fantasy and horror stories as well, with surrealist, expressionist, and apocalyptic modes flourishing alongside tales of lost arcadias. Looking back 100 years later, how did WWI shape the readers and writers of speculative fiction and the genre as a whole?
  50. 3:00 PM    CR    Militarism and Pacifism in Speculative Fiction. Chris Brown, Michael Cisco, Kameron Hurley (leader), James Morrow, Bud Sparhawk. Wars and military service often feature prominently in genre fiction, as plot devices, settings, occupations, and motivations. The presence of a standing military in a culture implies conflict—past or present or future, realized or potential. Wars in speculative settings are often presented as inescapable and morally unambiguous; it's hard to be a pacifist when the enemy is a group of vampires or aliens bent on human extinction. How do we write about military spaces and their implications for created cultures? What can be done in military settings that can't be done in civilian ones? And how do we make space for pacifism and critiques of militarism as well as battlefield action and military strategy?
  51. 3:00 PM    ENL    Speculative Poetry Workshop. Romie Stott. Romie Stott leads a speculative poetry workshop for poets of all levels. Writing prompts will be provided, and poets are welcome to request feedback and collaboration from other participants.
  52. 3:00 PM    EM    Long Hidden Group Reading. Rose Fox (leader), Claire Humphrey, Michael Janairo, Ken Liu, Sunny Moraine, Daniel José Older, Sarah Pinsker, Sofia Samatar, Sabrina Vourvoulias. Long Hidden (edited by Rose Fox and Daniel José Older) is an anthology of speculative stories from the margins of history. Our participants will read from their stories, which dive deep into the hidden truths of marginalized people throughout history and around the world.
  53. 3:00 PM    ENV    Reading: Mikki Kendall. Mikki Kendall. Mikki Kendall reads an untitled story set in the same universe as "If God Is Watching".
  54. 3:00 PM    CL    Kaffeeklatsch. Glen Hirshberg, Mary Rickert.
  55. 3:00 PM    E    Autographs. E.C. Ambrose, Barry Longyear.
  56. 3:00 PM    IN    Russian Traditions of Science Fiction and Fantasy. Michael Kandel, J.M. Sidorova (leader). Scholarly interest in the Russian traditions of speculative fiction has been growing in the recent years, examining authors such as Nikolai Gogol, Mikhail Bulgakov, Alexei Tolstoi, the Strugatsky brothers, Ludmila Petrushevskaya, and Victor Pelevin. Does Russian SF merely thread genre tropes through the Russian world outlook? Or does it tell us something unique about our recent past and our near future?
  57. 3:30 PM    ENV    Reading: Scott Edelman. Scott Edelman. Scott Edelman reads "And, Behold, It Was Very Good".
  58. 4:00 PM    F    Rape, Race & Speculative Fiction. Chesya Burke, Mikki Kendall (leader), Rose Mambert, Sabrina Vourvoulias. Rape as a plot device can be highly problematic. We've certainly seen it used as the only trauma or the worst trauma that can happen to a woman in fiction. But what happens when writers from marginalized communities include it in their fiction as a way of exploring painful history that has gone unacknowledged? We will discuss Nnedi Okorafor's Who Fears Death, Andrea Hairston's Redwood and Wildfire, and other examples. This panel will cover some very sensitive topics, so please be respectful of yourself and others.
  59. 4:00 PM    G    Being a Good Literary Citizen . Cecil Castellucci, Ben Loory, Kate Maruyama, Paul Park, Kit Reed (leader), Rick Wilber. The SF community is strong, vibrant, and varied. At this panel, we'll talk about ways that writers can give something back to the community that supports them. How can younger writers benefit from the experience and knowledge of older writers, and vice versa? How does the connection between teachers and students enliven the field? How can we "pay it forward"?
  60. 4:00 PM    CR    The Polymath, or the Life and Opinions of Samuel R. Delany, Gentleman. Samuel Delany, David Shaw. Samuel R. Delany's career has been groundbreaking in numerous ways. Learn more about his life and work and join us as we screen The Polymath, or the Life and Opinions of Samuel R. Delany, Gentleman, a documentary by Fred Barney Taylor about America's great "philosophical, confessional, and fictional genius" (and Readercon 2 Guest of Honor).
  61. 4:00 PM    ENL    The Immediate Influence of Mary Shelley . F. Brett Cox (leader), Andrea Hairston, Theodore Krulik, Jess Nevins, Diane Weinstein. At least since Brian Aldiss's history of the genre, Billion Year Spree, it's been a commonplace that Mary Shelley founded modern science fiction by writing Frankenstein; Or, the Modern Prometheus (1818). But instead of talking in general terms about her influence on science fiction, this panel focuses specifically on the works that came immediately afterwards. How much did Mary Shelley influence 19th-century science fiction? What individual works, and what trends, stemmed from her pioneering visions?
  62. 4:00 PM    EM    Reading: James Patrick Kelly. James Patrick Kelly. James Patrick Kelly reads a bit of a new story.
  63. 4:00 PM    ENV    Reading: Allen Steele. Allen Steele. Allen Steele reads "The Prodigal Son", an upcoming novella in the Arkwright series being published in Asimov's Science Fiction.
  64. 4:00 PM    CL    Kaffeeklatsch. Gavin Grant, Yoon Ha Lee.
  65. 4:00 PM    E    Autographs. Kenneth Schneyer, Peter Straub.
  66. 4:00 PM    IN    The Banjo Apocalypse Crinoline Troubadours. C.S.E. Cooney, Amal El-Mohtar, Nicole Kornher-Stace, Caitlyn Paxson. The Banjo Apocalypse Crinoline Troubadours are friends, writers, performers, and musicians who've banded together to share their work with the world. Scattered across the globe, they do not so much travel together as spontaneously occur. Whenever two or more are gathered, you can be sure of a well-dressed apocalypse. BACT performances include music, poetry, storytelling, and theatrical readings: all original work and accompanied by the harp and banjo. Hear tell of witches, ghost-hunters, and ballads from a distant star! Marvel at sea kings, ancient cities, and much, much more!
  67. 4:30 PM    ENV    Reading: Nathan Ballingrud. Nathan Ballingrud. Nathan Ballingrud reads An excerpt from "The Visible Filth," a forthcoming novella.
  68. 5:00 PM    F    Retroactive Genre and Literary Identity. Erik Amundsen, Matthew Cheney (leader), Jack Haringa, David Hartwell, Veronica Schanoes, Romie Stott. Robert Jackson Bennett wrote in a blog post, "The constantly-changing opinions on genre bear a striking similarity to ongoing debates in psychology, sometimes, with opinions on, say, manic-depression slowly growing to be the dominant opinion; and, maybe, that opinion on who these people are, what they do, and how they feel, will change to become something else in five years. However, just because a psychological opinion changes does not mean the people being studied change with it, much like how birds are happily oblivious to any sea change in ornithology." Can books or authors be "happily oblivious" to shifts in the popular understanding or construction of genre? When we retroactively apply genre labels that didn't exist when a book was created, such as referring to Frankenstein as science fiction (or even as steampunk), how does that affect our reading of the work?
  69. 5:00 PM    G    The Tension of Satisfaction and Subversion. Michael Cisco, Lev Grossman, Ellen Kushner (leader), Yves Meynard, Eugene Mirabelli, Kit Reed. When reading, we can derive pleasure from having our expectations met and the conventions of the genre or form satisfied. But we also derive pleasure from having those conventions and expectations subverted, exploded, and turned inside out. There's a natural tension between those two drives which affects both a story's artistic effectiveness and its commercial appeal. That tension is inherently tied to perceptions and definitions of genre, and to the criteria by which the reading public examines literary works. How then, does that tension work? How do stories strike a balance between conventions and reader expectations, while still offering innovation or subversion? How does our own understanding of that balance affect how the criteria we use to examine literary works?
  70. 5:00 PM    ENL    The Satirist's Progress. Marc Abrahams, F. Brett Cox, Alex Jablokow, James Morrow (leader), Paul Tremblay. In an interview at Clarkesworld Magazine, Nick Mamatas said, "Speculative fiction has become much less about transparent allegories or satires and such, and much more about itself," while also asserting that "Even if it's only a minor current within speculative fiction, satire will always have a place in it, because exaggeration is crucial to satire. You cannot satirize the here and now simply through reproduction of it via bourgeois realism." In response, Paul Tremblay offered examples of three picaresque novels "devoid of speculative fiction elements" that he considered satirical: A Confederacy of Dunces by John Kennedy Toole, Treasure Island!!! by Sara Levine, and Home Land by Sam Lipsyte. To what extent has the core of genre SF moved away from satire? And is satire possible within pure realism?
  71. 5:00 PM    EM    Cambridge SF Workshop Group Reading. E.C. Ambrose, James Cambias, Kenneth Schneyer (leader), Sarah Smith. The Cambridge Science Fiction Workshop, founded in 1980, is the oldest professional SFF writers group in New England, counting Hugo and Nebula finalists and winners among its current members and alumni. Members will read short pieces or excerpts from recent works.
  72. 5:00 PM    ENV    Reading: Lisa (LJ) Cohen. Lisa (LJ) Cohen. LJ Cohen reads a selection from Derelict, an SF novel.
  73. 5:00 PM    CL    Kaffeeklatsch. Victoria Janssen, Tom Purdom.
  74. 5:00 PM    E    Autographs. Ellen Datlow, Rose Mambert.
  75. 5:30 PM    ENV    Reading: Chris Gerwel. Chris Gerwel. Chris Gerwel reads from a recently finished (but as-yet unpublished) fantasy thriller entitled Ground Truth, an espionage thriller where the act of drawing a map has the effect of changing reality.
  76. 6:00 PM    F    Can Heroes Be Happy?. E.C. Ambrose, K. Tempest Bradford (leader), Cecil Castellucci, Adam Lipkin, Sarah Pinsker. In defense of DC Comics's policy that superheroes can't get married, Dan DiDio says, "Heroes shouldn't have happy personal lives. They are committed to being that person and committed to defending others at the sacrifice of their own personal interests.... It's wonderful that they try to establish personal lives, but it's equally important that they set them aside." In response, at The Mary Sue, Susana Polo wrote, "[Gay] kids need heroes who do the things that their environment tells them are impossible. They need gay heroes who grow up to be loved by the men and women that they love, in stable, healthy, and, yes, legally sanctioned relationships. They need heroes, as well as real people, to show them that it gets better. That. Is what heroes. Are for." Let's use this as a jumping-off point for discussing different concepts of heroes and heroism.
  77. 6:00 PM    G    Education in Speculative Fiction. Greer Gilman, Lev Grossman, Rosemary Kirstein, Faye Ringel, Delia Sherman (leader), Rick Wilber. Schools and educational settings abound in genre fiction. Ender's Game, Harry Potter, A Wizard of Earthsea, Lovecraft's Miskatonic University... why? Is it SF/F's roots in juvenilia, or does the school setting lend itself in particular to made-up worlds where the protagonists (and readers) have much to learn about how it works? Or is it that writers have so much of their lives shaped by their educational experiences that we necessarily incorporate them?
  78. 6:00 PM    CR    A Fondness for Fanfic. Catt Kingsgrave, Adrienne J. Odasso, Margaret Ronald, Kenneth Schneyer (leader), Cecilia Tan. Our panelists readily admit that they still write fanfic while making pro sales, and talk about why the two types of writing scratch different itches. What are the risks of admitting to a history of writing fanfic? What about current adventures in other people's universes—is there a point at which your fanfic needs have to go unmet?
  79. 6:00 PM    ENL    The Convergence of Utopia and SF . Lila Garrott, Chris Gerwel (leader), Kameron Hurley, Paul Park, John Stevens. In a blog post about Readercon 24's utopia panels, Chris Gerwel wrote, "Utopian thought is a systemic 'what if' game: If we adjust the systems that shape our society, how will our society change?" Observing that "what if?" is at the heart of science fiction, Gerwel adds, "Can we have science fiction that isn't utopian? Or can we have a utopia which isn't science fictional?" This panel will tackle these and other deep questions about the nature of utopia and its relationship with SF.
  80. 6:00 PM    EM    Pink Narcissus Press Group Reading. Debra Doyle, Duncan Eagleson, Jeff Hecht, Nancy Hightower, Rose Mambert (leader), James Morrow, Sarah Smith, Allen Steele. Pink Narcissus Press authors read from their work.
  81. 6:00 PM    ENV    Reading: Christopher Cevasco. Christopher Cevasco. Christopher Cevasco reads the first chapter from his latest book, Eventide, a novel of English resistance and rebellion in the years immediately following the Norman Conquest of 1066.
  82. 6:00 PM    CL    Kaffeeklatsch. Liz Gorinsky, Theodora Goss.
  83. 6:00 PM    E    Autographs. Felix Gilman, Max Gladstone.
  84. 6:30 PM    ENV    Reading: Michael Cisco. Michael Cisco. Michael Cisco reads Published excerpts from his novel Unlanguage.
  85. 7:00 PM    F    Storyability, Tellability, and Speculative Fiction. Judith Berman (leader), John Clute, Alex Jablokow, Tom Purdom, Graham Sleight. Graham Sleight's Readercon 24 talk, "The Wrong Future," tied Harvey Sacks's concept of a scenario being storyable—something that can be told as a story, and is worth telling to others—to SF. Sleight cited the TARDIS and transporters as technology that make scenarios more storyable because they cut out all the "get this character from point A to point B" concerns, and suggested that space travel is storyable in a way that climate change, for example, is not—unless it leads to (or is escaped by) the singularity, which is. Which speculative scenarios are more or less storyable, and why? And how does Sacks's companion concept of tellability—being entitled or permitted to tell a story—connect with speculative fiction's focus on the protagonist, and with recent discussions on who gets to star in and narrate speculative works?
  86. 7:00 PM    G    Romance Recs for Spec Fic Fans . Saira Ali, Beth Bernobich, Rose Fox, Victoria Janssen (leader), Natalie Luhrs, Cecilia Tan. At Readercon 24, "Making Love Less Strange" discussed ways for spec fic authors to incorporate romance into their work. Building on that, this panel will provide and invite recommendations of romance novels that spec fic fans will enjoy and authors can learn from. Some examples include Meljean Brook's The Iron Duke, a steampunk police procedural; Isabel Cooper's No Proper Lady, starring a time-traveling demon-battling assassin; and Sara Creasy's Song of Scarabeus, an action-packed cyberpunk space opera. Prepare to take notes.
  87. 7:00 PM    CR    An Illustrated Guide to Fantasy Maps. Jonathan Crowe. Why do the maps in fantasy novels look the way they do? Could they be different? Jonathan Crowe describes fantasy map design elements, looks at good and bad executions of the fantasy map design, compares fantasy maps with their real-world historical equivalents, and explores some new and different takes on the fantasy map.
  88. 7:00 PM    ENL    Emotion, Archives, Interactive Fiction, and Linked Data . Leah Bobet (leader), Toni L.P. "Leigh Perry" Kelner, Sarah Smith, Walt Williams. In a 2013 blog post, archivist Mx A. Matienzo drew a line between the "linked data" of interactive fiction (IF) and the connections within an archive of materials and works. Matienzo suggested creating a hybrid of the two that would bolster the emotional impact of fiction with links to relevant factual information—or, from the other side, that would bolster the intellectual weight of nonfiction with more nebulous but equally important information about feelings, thoughts, and experiences.How else can archivists, authors, and others collaborate on hybrid storytelling that brings these disparate components together?
  89. 7:00 PM    EM    Tabula Rasa Group Reading. Jennifer Marie Brissett, Justin Key, Barbara Krasnoff (leader), Sabrina Vourvoulias. Tabula Rasa is an NYC-based writers group made up of experienced, published science fiction/fantasy/horror writers. Each member will be reading a portion of a story, published or not yet published.
  90. 7:00 PM    ENV    Reading: Vandana Singh. Vandana Singh. Vandana Singh reads an extract from the new novella "Entanglement" coming out in the Project Hieroglyph anthology in Fall 2014.
  91. 7:00 PM    CL    Kaffeeklatsch. Marc Abrahams, Gemma Files.
  92. 7:00 PM    E    Autographs. Glen Hirshberg, John Langan.
  93. 7:30 PM    ENV    Reading: Greer Gilman. Greer Gilman. Greer Gilman reads from "Exit, Pursued by a Bear", Ben Jonson's next case.
  94. 8:00 PM    F    Creating and Embodying Genres. John Clute (leader), Samuel Delany, Chris Gerwel, John Langan, Yves Meynard. In discussions of literature there is a tendency to identify books that establish a genre as separate from books that embody that genre, as if the former creates the conditions which the latter successfully fulfills. Consider for instance Anne Rice's Interview with a Vampire vs. Laurell K. Hamilton's Guilty Pleasures, Philip K. Dick's The Man in the High Castle vs. Harry Turtledove's Southern Victory Series, and Michael Moorcock's The Warlord of the Air vs. K.W. Jeter's Infernal Devices. What is the relationship between such books? Is it only historical distance that makes us look at a book one way instead of another? And what about works contemporary to but eclipsed by the genre-creators and/or embodiers—where do they fit in?
  95. 8:00 PM    G    Synchronous and Asynchronous Media Consumption. K. Tempest Bradford, Kevin Clark, David Shaw (leader), Rick Wilber. In recent decades, the consumption of television has changed from primarily synchronus to primarily asynchronus due to the advent of time-shifting technologies and archive sharing. Books have always been consumed asynchronously, being read in basically the same format for years or centuries. Publishers try to create synchronus consumption by instituting book embargoes, midnight launch parties, and secret launch dates, while TV producers encourage realtime social media discussions as episodes are airing. What's the perceived benefit of synchronous media consumption, and how does it inform the culture around a book or a show?
  96. 8:00 PM    CR    Growing Godzilla: The Genetic Basis for Monsters. Eric Schaller. Eric Schaller explains everything you ever needed to know about the genetic basis for monsters, with horrifying visuals to thrill viewers with any level of science background.
  97. 8:00 PM    ENL    Dealing with Discouragement. Lisa (LJ) Cohen, F. Brett Cox, Gemma Files, Barbara Krasnoff (leader), Bud Sparhawk. As writers, we learn very early on to handle rejection, but how do you handle it when a story you're sure is good is rejected by 20 different publications? Or when your carefully crafted novel is shrugged off by five different agents? Or your self-published novella is bought by only 25 people, all of them friends and relatives? Or your fantasy novel disappears from public view after a couple of weeks? This discussion, led by Barbara Krasnoff, will cover personal strategies to deal with disappointments, rejection, and other setbacks.
  98. 8:00 PM    EM    Reading: Daniel José Older. Daniel José Older. Daniel José Older reads from the upcoming novel Half-Resurrection Blues.
  99. 8:00 PM    ENV    Reading: Felix Gilman. Felix Gilman. Felix Gilman reads from The Revolutions / Rise of Ransom City.
  100. 8:00 PM    CL    Kaffeeklatsch. Max Gladstone, Lev Grossman.
  101. 8:00 PM    E    Autographs. Kameron Hurley, Toni L.P. "Leigh Perry" Kelner.
  102. 8:00 PM    IN    Speculative Poetry Open Mic. Saira Ali (leader), Amal El-Mohtar. Speculative poetry covers a broad range of forms and topics. Creators and fans of speculative poetry are invited to come to this open mic and perform their favorite works. Sign up at the info desk.
  103. 8:30 PM    ENV    Reading: Walt Williams. Walt Williams. Walt Williams reads a selection from the novel The Garden at the Roof of the World, published last August by DragonWell Publishing.
  104. 9:00 PM    CR    Parallels Between the Evolution of Human Language and Genetics. J.M. Sidorova. Reprising her 2013 talk at the Art+Science salon at the Tacoma Art Museum, Julia Sidorova will give a popular science-level overview of parallels between evolution of human languages and human genomes/epigenomes as tools of expression and communication, with examples. The presentation will be based in serious academic literature on the subject, though will also aim to provoke imagination and just have some intellectual fun.
  105. 9:00 PM    ENL    The Gothic in 19th-century Science Fiction. Jess Nevins. Jess Nevins will describe the influence of the Gothic on 19th-century science fiction. The dominant genre at the turn of the 19th century, the Gothic would peak in 1820 and then dwindle away until it became, in John Sutherland's words, little more than a minor byway of Victorian fiction, returning only at the end of the century. Yet its tropes, motifs, and plot elements were highly influential on the science fiction of the century, including Mary Shelley's Frankenstein (1819) and the anti-Gothic Edisonades.
  106. 9:00 PM    EM    Circlet Press Group Reading. Cecilia Tan (leader). For over twenty years, Circlet Press has been the only publisher specializing in erotic science fiction and fantasy. Contributors to the recent best-of collection Fantastic Erotica and other Circlet books will read excerpts from their work.
  107. 9:00 PM    ENV    Reading: Max Gladstone. Max Gladstone. Max Gladstone reads excerpts from Full Fathom Five, his next novel (out July 15.)
  108. 9:00 PM    CL    Kaffeeklatsch. Greer Gilman, Jack Haringa.
  109. 9:00 PM    E    Autographs. Leah Bobet, Rick Wilber.
  110. 9:30 PM    ENV    Reading: Paul Park. Paul Park. Paul Park reads from the new novel, All Those Vanished Engines.
  111. 10:00 PM    F    The Cordwainer Smith Rediscovery Award. Gordon Van Gelder. The Smith Award, honoring a writer worthy of being rediscovered by today's readers, is selected annually by a panel of judges that includes Readercon 4 Guest of Honor Malzberg. Past winners include Olaf Stapledon, R.A. Lafferty, Edgar Pangborn, Henry Kuttner and C.L. Moore, Leigh Brackett, William Hope Hodgson, Daniel F. Galouye, Stanley G. Weinbaum, A. Merritt., and Katherine MacLean.
  112. 10:30 PM    F    Meet the Pros(e). . Each writer at the party has selected a short, pithy quotation from his or her own work and is armed with a sheet of 30 printed labels, the quote replicated on each. As attendees mingle and meet each pro, they obtain one of his or her labels, collecting them on the wax paper provided. Atheists, agnostics, and the lazy can leave them in the order they acquire them, resulting in one of at least nine billion Random Prose Poems. Those who believe in the reversal of entropy can rearrange them to make a Statement. Wearing labels as apparel is also popular. The total number of possibilities (linguistic and sartorial) is thought to exceed the number of theobromine molecules in a large Trader Joe's dark chocolate bar multiplied by the number of picoseconds cumulatively spent by the Readercon committee on this convention since its inception.
  113. Saturday July 12

  114. 10:00 AM    F    When the Other Is You. Chesya Burke, Samuel Delany, Peter Dubé, Mikki Kendall, Vandana Singh, Sabrina Vourvoulias (leader). Being part of an underrepresented group and trying to write our experience into our work can be tricky. We might have internalized some prejudice about ourselves, we might not have the craft to get our meaning across perfectly, and even if we depict our own experience totally accurately (as Chimamanda Ngozi Adichie observed in her TED Talk "The Danger of a Single Story"), we do so while struggling against the expectation that our experience is or isn't "representative" or "authentic." How do we navigate the pitfalls and responsibilities of being perceived as spokespeople? What potentially pernicious dynamics allow us that dubious privilege in the first place? Which works make us cringe with their representations of us, and which make us sigh with relief and recognition?
  115. 10:00 AM    G    Imaginative Resistance. Matthew Cheney, Felix Gilman, Kameron Hurley, Anil Menon, James Morrow (leader), Paul Park. In Mimesis As Make-Believe, Kendall Walton describes a reader's "...curious reluctance to allow fictional worlds to differ in fundamental moral respects from the real world as we understand it." This reluctance, now called imaginative resistance, manifests when a reader is wiling to accept fantastical claims as long as they don't violate a personal belief. Even readers who accept the logic behind the decision in "The Cold Equations" (which not all readers do) will balk at the inevitable conclusion. How does this resistance affect the inerplay between reality and fantasy when it comes to morality? Why are we comfortable with dragons, but not with lovable murderers? Do authors have enough control to overcome this resistance?
  116. 10:00 AM    CR    Fictionmags. John Clute, Jess Nevins, Gordon Van Gelder (leader). The listserv Fictionmags has been in existence since 1999. Formed by David Pringle, ex-editor of Interzone, its formal remit is the study of all fiction-bearing magazines throughout history. Featuring approximately 175 members at any one time, it boasts such luminaries as Ellen Datlow, Gordon Van Gelder, Barry Malzberg, John Clute, Paul DiFilippo, and Scott Edelman. This panel will discuss Fictionmags and the resources it provides.
  117. 10:00 AM    ENL    The Limits of "Reading Protocols". John Stevens. In discussions of reading the fantastic, some observers use the idea of "reading protocols" to describe the particular way that readers engage and process the literature. Many analysts of fantastika, including Samuel Delany, James Gunn, and Jo Walton, characterize how the literature is read as the embrace of a formal schema that permits the reader to properly understand fantastic texts. But the idea of a protocol can be both a problematic concept and a limiting optic for examining how fantastic literature is read. John E.O. Stevens will briefly summarize the prominent uses of reading protocols in fantastic literary criticism and discuss the limitations of that idea and why we need to think beyond this conception to better comprehend how readers comprehend and immerse themselves in fantastic literature.
  118. 10:00 AM    EM    Reading: Kit Reed. Kit Reed. Kit Reed reads an excerpt from the forthcoming novel, Where. Q&A time to follow.
  119. 10:00 AM    ENV    Reading: Beth Bernobich. Beth Bernobich. Beth Bernobich reads an excerpt from her novel The Time Roads, forthcoming from Tor Books.
  120. 10:00 AM    CL    Kaffeeklatsch. Ken Liu, Sarah Pinsker.
  121. 10:00 AM    E    Autographs. Amal El-Mohtar, Gemma Files.
  122. 10:30 AM    ENV    Reading: Lev Grossman. Lev Grossman. Lev Grossman reads from The Magician's Land.
  123. 11:00 AM    F    Life in Space: Fact and Fiction. Saira Ali, Cecil Castellucci, Tom Purdom, Allen Steele (leader), Gayle Surrette. Life in space has been a backbone of science fiction from the beginning. More recently, works about space have focused less on the glory/excitement of the experience and have instead focused on the practicalites: politics (Kim Stanley Robinson's Mars series), neglect (J.G. Ballard's Memories of the Space Age), or outright disaster (Alfonso Cuarón's Gravity). What has caused this shift from fiction to fact? Has the passing of the Golden Ages of both science fiction and space exploration played a role in how writers approach their subject matter?
  124. 11:00 AM    G    Criticism in the Service of the Field. Chris Gerwel, Andrea Hairston, Donald Keller, Robert Killheffer (moderator), Natalie Luhrs. An editor performs quality assurance (QA) on a book, making it the best book it can be. Literary critics might be seen as taking the QA role for the entire industry of publishing, or the specific portion of it in which they ply their trade. How does the practice of criticism change if critics of speculative fiction take it as their goal to help the field be the best it can be?
  125. 11:00 AM    CR    How to Write for a Living When You Can't Live Off Your Fiction. Leah Bobet, Barbara Krasnoff (leader), Adam Lipkin. You've just been laid off from your staff job, you can't live on the royalties from your fiction writing, and your significant other has taken a cut in pay. How do you pay the rent? Well, you can find freelance work writing articles, white papers, reviews, blogs, and other non-SFnal stuff. Despite today's lean journalistic market, it's still possible to make a living writing, editing, and/or publishing. Let's talk about where and how you can sell yourself as a professional writer, whether blogging can be done for a living, and how else you can use your talent to keep the wolf from the door. Bring whatever ideas, sources, and contacts you have.
  126. 11:00 AM    ENL    Absent Friends. Michael Cisco, John Langan (leader), Sonya Taaffe, Gordon Van Gelder. In the past year, the field has lost many beloved writers, editors, artists, and fans. Come join us as we celebrate their lives and work.
  127. 11:00 AM    EM    Reading: Delia Sherman. Delia Sherman. Delia Sherman reads from a current WIP, The Great Detective.
  128. 11:00 AM    ENV    Reading: Chesya Burke. Chesya Burke. Chesya Burke reads from Let's Play White.
  129. 11:00 AM    CL    Kaffeeklatsch. Michael Dirda, Peter Straub.
  130. 11:00 AM    E    Autographs. James Patrick Kelly, Kit Reed.
  131. 11:30 AM    ENV    Reading: Veronica Schanoes. Veronica Schanoes. Veronica Schanoes reads an unpublished story excerpt.
  132. 12:00 PM    F    New Models of Masculinity. Erik Amundsen, John Benson, Kameron Hurley (leader), Catt Kingsgrave, Bart Leib. In a comment on Chuck Wendig's blog, Nobilis Reed wrote, "I think one of the ways that speculative fiction can really change the world in a way that it needs right now, is to provide models of masculinity that don't involve oppressing people." There's no denying that today's speculative heroes are frequently brooding, violent, incapable of healthy relationships, and otherwise not exactly role model material. This panel will brainstorm ways to create fictional men and masculine people who we'd actually want to spend time with.
  133. 12:00 PM    G    Genre Fiction as Educational Activism. Judith Berman, Jack Haringa, Mikki Kendall (leader), Veronica Schanoes, Sarah Smith. Last year's Civil War panel addressed how common core standards in US public education are removing traditionally silenced voices, lesser-known events and perspectives affecting marginalized groups from the history narrative taught in schools. To what extent can genre fiction supply or address this deficit? How can the explicit narrative-building in fiction challenge or shore up the implicit narrative-building of school-taught history? What differences, if any, are present in how genre and non-genre books perform their activism? Who out there is deliberately setting out to challenge these systems in their writing, and how can we support them?
  134. 12:00 PM    CR    R.A. Lafferty at 100. F. Brett Cox, Jim Freund (leader), Jeff Hecht. 2014 marks the centennial of R.A. Lafferty, a favorite Readercon author. This panel will introduce Lafferty to those who do not know his works and give the rest of us an opportunity to celebrate his many achievements.
  135. 12:00 PM    ENL    Writing and the Visual Arts. Greer Gilman, Shira Lipkin, Eric Schaller, Romie Stott (leader), Diane Weinstein. Writers who are also photographers and visual artists may find that the two fields influence each other in surprising ways, whether by bringing narrative to image-making or by writing from a camera-influenced viewpoint. Panelists will discuss this experience and the ways they find the written and visual media complimentary or antithetical. Does the camera never lie, or does it create fiction? Is a picture worth a thousand words or is a word worth a thousand pictures?
  136. 12:00 PM    EM    Interfictions Group Reading. Gwynne Garfinkle, Theodora Goss, Anil Menon, Sofia Samatar (leader), Sonya Taaffe. Contributors to the Interfictions online magazine read from their work.
  137. 12:00 PM    ENV    Reading: Peter Straub. Peter Straub. Peter Straub reads an excerpt from a novel-in-progress, Riderless Horse.
  138. 12:00 PM    CL    Kaffeeklatsch. Samuel Delany, Warren Lapine.
  139. 12:00 PM    E    Autographs. James Morrow, Cecilia Tan.
  140. 12:00 PM    IN    Voice Workshop for Storytellers. Andrea Hairston, Pan Morigan. As a reader and a storyteller, your voice is your most important instrument. Do you want to learn new techniques for fine-tuning your voice? Would you like to learn how to project your voice powerfully without fatigue? Would you like to explore dramatic voice-techniques that will keep an audience riveted as you read to them? Come prepared to work your breath, move your body, and make noise with Andrea Hairston and Pan Morigan. This workshop will give you a toolbox of voice warm-ups and practices that will set you on the path to your own natural and unique sound.
  141. 12:30 PM    ENV    Reading: Toni L.P. "Leigh Perry" Kelner. Toni L.P. "Leigh Perry" Kelner. Toni L.P. "Leigh Perry" Kelner reads A Skeleton in the Family --or at least part of it.
  142. 1:00 PM    F    Integrating Exposition. Jeanne Cavelos, Glenn Grant, Daryl Gregory, Mary Rickert, Sarah Smith (leader), Melanie Tem. In a 2013 interview with Paul Holdengräber at the NYPL, William Gibson noted that the description of cyberspace in Neuromancer came not from a character's dialogue or a block of narrative text, but from a television show for children that Case and Molly encountered while channel-surfing. Gibson described this device as a way of both sneaking exposition into the text and selling it to the reader. As the announcer extols the wonders of cyberspace to the show's viewers, the reader is encouraged to buy in just as those viewers would, with the credulity of a child. It also helps to set the scene; Gibson said he hears it in the tone of post-WWII PSAs about the wonders of atomic everything, a retrofuturistic touch that contrasts cleverly with Neuromancer's gritty atmosphere. What are other ways of making exposition work for the narrative rather than interrupting it?
  143. 1:00 PM    G    Audience-centric Narratives . Judith Berman, L. Timmel Duchamp (leader), Gwynne Garfinkle, Chris Gerwel, James Patrick Kelly. Several subgenres of speculative fiction, such as horror, satire, and slipstream, focus on creating a particular feeling or experience within the reader, rather than on the more typical plot-driver of a protagonist's inner or outer conflicts. The failure mode of this sort of writing is manipulation and didacticism. What makes an audience-centric story successful, from the author's point of view and the reader's?
  144. 1:00 PM    CR    The Shiny, Candy-like Zombie: Commoditizing the Undead. Dale Bailey, Scott Edelman, Catt Kingsgrave, John Langan, Sarah Langan (leader). On Twitter, M. John Harrison wrote about the appeal of zombies: "You can hate them without feeling wrong. You can kill them like eating sweets. Then you're hungry again & you can kill more. They're fully dehumanised. There's no off-season, no moral limitation. They're the *enemy*. What's not to love? They're what we really want." So do we like zombies because they're the consumer-friendly, ambiguity-free face of implacable evil? Are they, in fact, the most perfectly commoditised monsters?
  145. 1:00 PM    ENL    The Works of Andrea Hairston. Ken Houghton (leader), Mikki Kendall, Emily Wagner. In her career Andrea Hairston has worked magic with her ability to create experiences. Although many of her works might be categorized as genre fiction, she's transcended such boundaries again and again. Hairston's work as a playwright and a professor have clearly influenced her stories until it becomes something in which a reader can fully immerse themselves. In Mindscape she wove together a complex tapestry of cross cultural conflict as well as human reactions to change wrought by an unknown outside force. In Redwood and Wildfire, Hairston orchestrated a tale with its own music intermingling with a historical perspective that often goes unheard. Reshaping the expected approaches to science fiction and fantasy, Hairston grounds her tales in traditions beyond the expected European structures. She brings the rich cultural and social diversity of the African diaspora into her work at every turn. And through all of her works shines her talent for theater, for being a true Griot sharing truth via fiction while invoking the magic of language, and the wonder that it can bring to our lives. These elements working in concert provide a consistently high level of reader interaction—and reader delight!—that we can only hope to do justice to in this panel.
  146. 1:00 PM    EM    Reading: Margaret Ronald. Margaret Ronald. Margaret Ronald reads an excerpt from a recent short story.
  147. 1:00 PM    ENV    Reading: James Morrow. James Morrow. James Morrow reads a scene from a recently published novella, "The Madonna and the Starship."
  148. 1:00 PM    CL    Kaffeeklatsch. Nicholas Kaufmann, Barry Longyear.
  149. 1:00 PM    E    Autographs. Adrienne J. Odasso, Tom Purdom.
  150. 1:30 PM    EM    Reading: K. Tempest Bradford. K. Tempest Bradford. K. Tempest Bradford reads a new steampunk story.
  151. 1:30 PM    ENV    Reading: Sofia Samatar. Sofia Samatar. Sofia Samatar reads from a work-in-progress, The Winged Histories, the sequel to A Stranger in Olondria.
  152. 2:00 PM    F    Becoming a Better Reader. Marc Abrahams, Robert Jackson Bennett, Leah Bobet, Michael Dirda, Yoon Ha Lee, Resa Nelson (leader). In a 2013 Twitter comment, Caitlín R. Kiernan wrote, "Too often, the problem isn't that an author needs to be a better writer, but that a reader needs to be a better reader." As readers, we can sometimes tell whether we liked a book, but it's much harder to step outside and evaluate ourselves as ideal readers and how our pleasure/displeasure in a work relates to what the author was trying to do. How can we become different readers, or better readers? What makes one reader better than another, in the context of a given work or in general? Is there even such a thing as a better reader, or are there only readers who are more or less prepared for a particular book?
  153. 2:00 PM    G    Portrayals of Code-switching. Chesya Burke (leader), Geoff Hart, Daniel José Older, Tom Purdom. Code-switching means different things in different communities. The most common definition is for people to change the way that they speak to suit the situation they are in at the moment. Being able to successfully code-switch can be the key to greater opportunity in many cultures. How do we convey code-switching in speculative fiction, particularly allegories for inter-racial interactions such as stories of first contact and colonization?
  154. 2:00 PM    CR    Educated Guesses: Tech Pros Writing SF. Saira Ali, John Chu, Jim Freund, Barbara Krasnoff, B Diane Martin (leader), Walt Williams. In response to a Silicon Valley technologist frustrated with the current state of science fiction, blogger Andrija Popovic wrote, "Change the question from 'Why are people not writing about the future I'm making?' to 'Where can I find and support people who are writing about this future I see coming?' Or better: tell your story." Tech professionals like Ramez Naam, Brenda Cooper, and Daniel H. Wilson are doing just that. What do their portrayals of the future say about our present, and conversely, about the visions of the future that are driving today's technological development?
  155. 2:00 PM    ENL    Odyssey Writing Workshop. Jeanne Cavelos. Director Jeanne Cavelos describes the Odyssey Writing Workshop, an intensive six-week program for writers of fantasy, science fiction, and horror held each summer in Manchester, NH. Guest lecturers have included George R. R. Martin, Elizabeth Hand, Ellen Kushner, Jane Yolen, Robert J. Sawyer, Nancy Kress, and Dan Simmons, and 59% of graduates have gone on to be professionally published. Cavelos explains the structure of the program, the work required, some common weaknesses that writers struggle with, and the pros and cons of workshops. She also describes Odyssey's online classes, critiques, and the free resources available.
  156. 2:00 PM    EM    Reading: Nicole Kornher-Stace. Nicole Kornher-Stace. Nicole Kornher-Stace reads from her YA novel Archivist Wasp forthcoming in 2015 from Small Beer Press's YA imprint Big Mouth House.
  157. 2:00 PM    ENV    Reading: Chris Brown. Chris Brown. Chris Brown reads an excerpt from "Countermeasures," a near-future sf story about surveillance, dissidents and separatists that will appear in the September 2014 issue of MIT Technology Review.
  158. 2:00 PM    CL    Kaffeeklatsch. Kate Maruyama, Kit Reed.
  159. 2:30 PM    EM    Reading: Daryl Gregory. Daryl Gregory. Daryl Gregory reads an excerpt from a novella coming out from Tachyon in August, "We Are All Completely Fine."
  160. 2:30 PM    ENV    Reading: Samuel Delany. Samuel Delany. Samuel Delany reads fiction.
  161. 3:00 PM    F    Dark Fantasy and Horror: What's the Difference?. Jeanne Cavelos, Ellen Datlow (leader), Gemma Files, Jordan Hamessley, Jack Haringa, Steve Rasnic Tem. "As an editor of both dark fantasy and horror," Ellen Datlow writes, "I've been struggling with differentiating the difference for the last couple of years, particularly when editing the Best Horror of the Year, but also when reading for the Women Destroy Horror issue of Nightmare magazine." This panel of editors will discuss how they draw the line between horror and dark fantasy when selecting stories for publications that are firmly in the horror field—or vice versa.
  162. 3:00 PM    G    The Booty Don't Lie: A Cheeky Discussion of Butts in Literature. Amal El-Mohtar (leader), Mikki Kendall, Julia Starkey, Vinnie Tesla, Emily Wagner. This panel is about butts. Fundamentally divisive, throughout history the humble buttocks has often found itself at the intersection of concerns about gender, sexuality, race, and truly terrible puns. This gameshow-style discussion of butts in literature and popular culture promises to be deep, probing, and entertaining in equal measure; join us in reasoning a posteriori.
  163. 3:00 PM    CR    Copyright Law and Your Writing. Warren Lapine, Eugene Mirabelli, Tom Purdom, Kenneth Schneyer, Sarah Smith (leader). Last year William Fisher of the Harvard Law School taught an introductory online course about the history, philosophy, and future of copyright law. The course is now developing a forum about copyright law and its future. This one-hour discussion, led by Sarah Smith, will dig into the material presented in Fisher's course. How does copyright law affect writers? How do current ideas of copyright infringement restrict creativity? How might copyright law change to make new forms of creativity legal—and make them pay?
  164. 3:00 PM    ENL    How We Edited Long Hidden. Rose Fox, Daniel José Older. Rose Fox and Daniel José Older will delve into their work editing the Long Hidden anthology.
  165. 3:00 PM    EM    Reading: Matthew Cheney. Matthew Cheney. Matthew Cheney reads a new short story.
  166. 3:00 PM    ENV    Reading: Jeff Hecht. Jeff Hecht. Jeff Hecht reads "Daybreak" from anthology Extreme Planets edited by David Conyers, David Kernot, and Jeff Harris.
  167. 3:00 PM    CL    Kaffeeklatsch. James Patrick Kelly, Bud Sparhawk.
  168. 3:00 PM    IN    Andrea and Pan Read and Sing. Andrea Hairston, Pan Morigan. Music and story for your enjoyment.
  169. 3:30 PM    EM    Reading: Mary Rickert. Mary Rickert. Mary Rickert reads from her novel The Memory Garden published in May, 2014.
  170. 3:30 PM    ENV    Reading: Yoon Ha Lee. Yoon Ha Lee. Yoon Ha Lee reads an excerpt from the unpublished story "Variations on an Apple," a space opera reimagining of the Iliad from Paris's viewpoint.
  171. 4:00 PM    F    Andrea Hairston Interviewed by Mikki Kendall. Andrea Hairston, Mikki Kendall (leader).
  172. 5:00 PM    F    Kit Reed Interviewed by Gary K. Wolfe. Kit Reed, Gary Wolfe (leader).
  173. 6:00 PM    CR    The Works of Mary Shelley. F. Brett Cox (leader), Gwynne Garfinkle, Adrienne J. Odasso, Diane Weinstein. Mary Wollstonecraft Shelley (1797-1851) was the daughter of the philosopher and novelist William Godwin and the feminist and educationist Mary Wollstonecraft. She married the poet Percy Shelley in 1816, and together with him and the poet Lord Byron and the doctor John Polidori, spent much of the summer of 1816 at the Villa Diodati on Lake Geneva. At Byron's suggestion, one evening each of the group told ghost stories that they had written; by far the most famous of these is Mary Shelley's Frankenstein; Or, the Modern Prometheus (1818). Frankenstein is often viewed as the first science fiction novel, turning the Gothic tradition into a form distinctively responsive to the modern age. It has inspired countless successors—as well, of course, as translations into other media. Mary Shelley wrote many other works, including the SF tale The Last Man (1826), several Gothic stories, biographies, and travel narratives. This panel will primarily focus on her speculative writing.
  174. 6:00 PM    ENL    Writing with a Medical Advisor. E.C. Ambrose, Danielle Friedman. Danielle "D.T." Freidman consulted as a medical advisor for E.C. Ambrose's Dark Apostle series based on medieval surgery. Ambrose and Friedman will discuss the interplay of medical information and the writing process, what went into their working relationship, and how Friedman's expertise made the first book what it is.
  175. 6:00 PM    EM    Reading: Kenneth Schneyer. Kenneth Schneyer. Kenneth Schneyer reads from a new collection, The Law & the Heart.
  176. 6:30 PM    EM    Reading: Nicholas Kaufmann. Nicholas Kaufmann. Nicholas Kaufmann reads a passage from the forthcoming novel, Die and Stay Dead (St. Martin's, September 2014).
  177. 7:00 PM    CR    Reading: John Langan. John Langan. John Langan reads an excerpt from the novel-in-progress, The Tunnel.
  178. 7:00 PM    ENL    Reading: Sabrina Vourvoulias. Sabrina Vourvoulias. Sabrina Vourvoulias reads a recently-published or unpublished short story.
  179. 7:00 PM    EM    Reading: Marc Abrahams. Marc Abrahams. Marc Abrahams reads Brief bits from genuine, bizarre scientific studies that have won Ig Nobel Prizes. And a few bits from his new book This Is Improbable Too, which will be published this fall.
  180. 7:00 PM    IN    Reading: Eileen Gunn. Eileen Gunn. Eileen Gunn reads from a work in progress.
  181. 7:30 PM    CR    Reading: Glen Hirshberg. Glen Hirshberg. Glen Hirshberg reads an excerpt from Good Girls, the forthcoming sequel to the 2014 novel, Motherless Child.
  182. 7:30 PM    ENL    Reading: E.C. Ambrose. E.C. Ambrose. E.C. Ambrose reads a selection from the Dark Apostle series.
  183. 7:30 PM    EM    Reading: Gregory Wilson. Gregory Wilson. Gregory Wilson reads a new short story from an upcoming anthology, No More Empires.
  184. 8:00 PM    F    A Most Readerconnish Miscellany. Emily Wagner (leader). Ada Palmer and Carl Engle-Laird emcee an extravagant evening of music, theater, and readings to benefit the Boston Area Rape Crisis Center and Operation Hammond. Bring cash or credit cards to make donations toward these very worthy organizations, all while being entertained by exquisite performers including Andrea Hairston and Pan Morigan, Daniel José Older, Liz Duffy Adams, Sonya Taaffe, Amal El-Mohtar, Ellen Kushner, C.S.E. Cooney and Caitlyn Paxson, and a capella group Sassafrass. Don't miss this unforgettable event.
  185. Sunday July 13

  186. 10:00 AM    F    Variations on the Theme of Unreliable Narrators. Peter Dubé, Theodora Goss (leader), Eileen Gunn, Shira Lipkin, Adrienne J. Odasso. What can you do with an "Unreliable Narrator?" Following last year's unreliable narrator discussion, the panelists came up with a large catalog of differently unreliable narrators. This year's panel will explore these unreliable narrators and the discuss the many things that authors can do with them.
  187. 10:00 AM    G    Books That Deserve to Remain Unspoiled. Jonathan Crowe, Gavin Grant, Kate Nepveu, Graham Sleight, Gayle Surrette (moderator). In a 2013 review of Joyce Carol Oates's The Accursed, Stephen King stated, "While I consider the Internet-fueled concern with 'spoilers' rather infantile, the true secrets of well-made fiction deserve to be kept." How does spoiler-acquired knowledge change our reading of fiction? Are some books more "deserving" of going unspoiled than others? If so, what criteria do we apply to determine those works?
  188. 10:00 AM    CR    The Works and History of Marek Huberath. Michael Kandel. Marek Huberath, a writer of fantasy that sometimes fuses with science fiction, is a physics professor at the Jagiellonian University in Krakow. His work is moral, allegorical, atmospheric with major themes of human suffering and how people somehow manage to preserve their humanity and dignity in the worst possible situations. Michael Kandel will talk about his stories and novels and read some of his prose in translation.
  189. 10:00 AM    ENL    Readercon Classic Children's Bookclub: Chitty-Chitty-Bang-Bang. Cecil Castellucci, Ken Houghton (leader). Written by Ian Fleming of James Bond fame and published in 1964, Chitty-Chitty-Bang-Bang has been beloved by children and adults, and continues to delight new generations partly thanks to the musical movie version starring Dick Van Dyke, with a screenplay co-written by Roald Dahl. This year is the 50th anniversary of Chitty's initial publication, so let's talk about Fleming's obsession with cars and gadgetry and thrilling cliffhangers, and ask the children and teens among us to discuss if they agree with a critic from the year of publication who said "we have the adult writer at play rather than the children's writer at work. The style is avuncular, the writing down too evident."
  190. 10:00 AM    EM    Reading: Rick Wilber. Rick Wilber. Rick Wilber reads "Scouting Report," a short story scheduled for the September Asimov's.
  191. 10:00 AM    ENV    Reading: Geoff Hart. Geoff Hart. Geoff Hart reads the first chapter of a self-published novel Jester.
  192. 10:00 AM    CL    Kaffeeklatsch. Beth Bernobich.
  193. 10:00 AM    E    Autographs. Samuel Delany, James Morrow, Mary Rickert.
  194. 10:00 AM    IN    From Page to Stage: Adapting Your Work for an Audience. C.S.E. Cooney, Amal El-Mohtar, Caitlyn Paxson. Caitlyn Paxson, C.S.E. Cooney, and Amal El-Mohtar will discuss how to take your work from the page to the stage. Each will perform short examples of the art, talking about eye contact, decibel level, and body language. They'll also provide vocal warm-ups and exercises, and tips on articulation, memorization, and breath control. Participants are encouraged to bring 1-3 paragraphs of their own writing to share aloud.
  195. 10:30 AM    EM    Reading: Theodore Krulik. Theodore Krulik. Theodore Krulik reads "Special Report," a chapter from the novel Alex Brocton, World Shaper.
  196. 10:30 AM    ENV    Reading: Barbara Krasnoff. Barbara Krasnoff. Barbara Krasnoff reads an unpublished story: "Sabbath Wine."
  197. 11:00 AM    F    The Shirley Jackson Awards. Chesya Burke, F. Brett Cox, Jack Haringa, John Langan, Sarah Langan, Kit Reed, Paul Tremblay. In recognition of the legacy of Shirley Jackson's writing, and with permission of the author's estate, the Shirley Jackson Awards have been established for outstanding achievement in the literature of psychological suspense, horror, and the dark fantastic. Jackson (1916–1965) wrote classic novels such as The Haunting of Hill House and We Have Always Lived in the Castle, as well as one of the most famous short stories in the English language, "The Lottery." Her work continues to be a major influence on writers of every kind of fiction, from the most traditional genre offerings to the most innovative literary work. The awards given in her name have been voted upon by a jury of professional writers, editors, critics, and academics, with input from a Board of Advisors, for the best work published in the calendar year of 2013 in the following categories: Novel, Novella, Novelette, Short Story, Single-Author Collection, and Edited Anthology.
  198. 11:00 AM    G    Publishing and Marketing. Neil Clarke, Liz Gorinsky (leader), Kameron Hurley, Tom Purdom, Ian Randal Strock. This panel will address the business side of writing and publishing. Panelists will discuss marketing department decisions and other parts of the publishing machine. How these decisions affect the ways we write and read?
  199. 11:00 AM    CR    How I Wrote The Revolutions. Felix Gilman. Felix Gilman discusses the development of his latest novel.
  200. 11:00 AM    ENL    Readercon Recent Fiction Bookclub: Ancillary Justice. Francesca Forrest, Adam Lipkin, Natalie Luhrs, Sarah Pinsker (leader), Sonya Taaffe. Ann Leckie's Ancillary Justice is gender-bending space opera with a thriller pace and sensibility. Critics are hailing Leckie's worldbuilding in the story of Breq, the remaining ancillary consciousness of a formerly great warship. We'll explore Leckie's themes of humanity and justice, as well as the way the book's use of nearly exclusively female pronouns shakes up or affirms our notions of a gender binary.
  201. 11:00 AM    EM    Reading: Ellen Kushner. Ellen Kushner. Ellen Kushner reads from a work-in-progress, a new Riverside novel that takes place 15 years after The Privilege of the Sword.
  202. 11:00 AM    ENV    Reading: Danielle Friedman. Danielle Friedman. Danielle Friedman reads a short story.
  203. 11:00 AM    CL    Kaffeeklatsch. Leah Bobet, James Morrow.
  204. 11:00 AM    E    Autographs. Theodora Goss, Sofia Samatar.
  205. 11:30 AM    ENV    Reading: Peter Dubé. Peter Dubé. Peter Dubé reads from The City's Gates or Subtle Bodies.
  206. 12:00 PM    F    Extrapolating SF from Science . Robert Jackson Bennett, Cecil Castellucci, Danielle Friedman, Jeff Hecht (leader), Ken Liu, Allen Steele. “Trying to predict the future is a discouraging and hazardous occupation,” Arthur C. Clarke declared. How far can authors see into the future and extrapolate about new technologies? Isaac Asimov said that science is how we see farther, and science fiction is where we write down what we see. Join us as our panelists discuss how they use science and technology in their work and how they try to predict future trends.
  207. 12:00 PM    G    Horror for Diverse Audiences. Gemma Files, Nicholas Kaufmann, John Langan (leader), Shira Lipkin, Jennifer Pelland, Shveta Thakrar. Stereotypes and -isms often come from the id, from a place of deep fear. Horror writers have made use of this for ages, particularly describing monsters and monstrousness in ways that evoke racial anxiety, sexual anxieties, and fears of bodily change. However, that only works if your audience is in the racial majority, sexual majority, and able-bodied. What is the place of horror based on normalized fears for someone who doesn't or can't identify with the norm? How can writers effectively write horror for diverse audiences with diverse fears and anxieties? Can horror be a tool for expanding social empathy and social justice?
  208. 12:00 PM    CR    Science Considered as a Helix of Semi-Frozen Cones. B Diane Martin, David Shaw. Look at the ingredient lists of your favorite supermarket and ultra-premium ice creams. What is all that stuff, and what does it contribute to what should be a simple concoction of dairy, sugar, flavoring, and air? How does temperature affect the texture of ice cream, and why is ice the absolute last thing you want to notice? David Shaw will discuss the factors involved in making the best homemade ice cream you can imagine. Whether you are a beginner or the Heist Cream Emperor (proprietor of The Glacier, the first and only ice cream palace on Triton), you'll learn something that will help you step up your ice cream game.
  209. 12:00 PM    ENL    Writing About Addiction. Erik Amundsen, Alex Jablokow, Catt Kingsgrave (leader), Barry Longyear, Rose Mambert. Genre has often used addiction metaphors in various ways, from addiction to Fairie to addiction to performance-enhancing drugs/magic, or to dull some sort of psychic powers. Holly Black, Laurie Marks, and Frank Herbert have all used one or more of these tropes; Buffy the Vampire Slayer could never seem to decide whether magic was an addictive drug or a stand-in for sex, and confused the matter further with a magical sex addiction. How do tropes about addiction match up to the science of real addiction, and what else can we do with these tropes without being insensitive to real people struggling with addiction?
  210. 12:00 PM    EM    Reading: J.M. Sidorova. J.M. Sidorova. J.M. Sidorova reads from the novel The Age of Ice and unpublished work .
  211. 12:00 PM    ENV    Reading: Kip Manley. Kip Manley. Kip Manley reads selections from City of Roses.
  212. 12:00 PM    CL    Kaffeeklatsch. Ellen Datlow, Delia Sherman.
  213. 12:00 PM    E    Autographs. Marc Abrahams.
  214. 12:30 PM    EM    Reading: Liz Duffy Adams. Liz Duffy Adams. Liz Duffy Adams reads an except from her post-apocalyptic comedy (play), Dog Act.
  215. 12:30 PM    ENV    Reading: Tom Purdom. Tom Purdom. Tom Purdom reads some brief essays on SF and other matters.
  216. 1:00 PM    F    Long Live the Queen. Greer Gilman, Theodora Goss, Catt Kingsgrave (leader), Faye Ringel, Diane Weinstein. If steampunk is, essentially, Victoriana that puts the corset on the outside where it shows, then many of our genres and subgenres are still wearing that corset underneath. There are strong influences of the Victorian gothic novel in horror literature today; of the ethos of colonialism in space opera; Dickens presages The Hunger Games; and Victorian erotica presages paranormal romance! How many of our modern genre conceptions are inherited, and how many are shaped by reaction against their predecessors? How does awareness of these dynamics shape contemporary work? In what ways can pointing to steampunk's propensity for wearing its underwear over its sleeves inflect conversations about our own genre clothing?
  217. 1:00 PM    G    Unlikely Cartography. Shira Lipkin, Sarah Pinsker. This summer, Unlikely Story will publish their Unlikely Cartography issue, featuring stories by Shira Lipkin, Kat Howard, Sarah Pinsker, Carrie Cuinn, and others. Together with editor A.C. Wise, these authors will discuss their stories, and other authors (historical and modern) who similarly explored the cartography of the fantastic. Influences and discussion topics may include Calvino's Invisible Cities, Eco's Legendary Lands, Post's Atlas of Fantasy, Mieville's The City and the City, and more.
  218. 1:00 PM    CR    The Works of Wyman Guin. David Hartwell, Donald Keller (leader), Tom Purdom. Guin was best known for his novella, "Beyond Bedlam," which John Clute described as "a savage, funny, sad novella that needs to be remembered." Guin, a pharmacologist and advertising executive, published most of his stories in Galaxy in the 1950s and 1960s. He also published one novel, The Standing Joy (1969).
  219. 1:00 PM    EM    Reading: Leah Bobet. Leah Bobet. Leah Bobet reads "Mountaineering", which is a short story forthcoming in Exile Editions' Start A Revolution: QUILTBAG Fiction Vying for Change.
  220. 1:00 PM    ENV    Reading: Sarah Smith. Sarah Smith. Sarah Smith reads from her Titanic book.
  221. 1:00 PM    CL    Kaffeeklatsch. Rosemary Kirstein, Adrienne J. Odasso.
  222. 1:30 PM    EM    Reading: Robert Jackson Bennett. Robert Jackson Bennett. Robert Jackson Bennett reads from American Elsewhere.
  223. 1:30 PM    ENV    Reading: Ellen Brody. Ellen Brody. Ellen Brody reads a selection from the work of Memorial Guest of Honor Mary Shelley.
  224. 2:00 PM    F    Making Readercon More Accessible . Sarah Smith (leader), Emily Wagner. In the best of all possible worlds, in addition to being a safe gathering space, Readercon would also be an accessible and inclusive gathering space for all attendees. What can we each, in our different roles, do to get closer to that state? Join members of Readercon's concom as we talk about what Readercon is doing to improve issues of access for everyone, and as we listen to your concerns and suggestions about what we can do to make Readercon better.
  225. 2:00 PM    EM    Reading: Gemma Files. Gemma Files. Gemma Files reads selections from a work in progress Experimental Film and the upcoming book We Will All Go Down Together: Stories About the Five-Family Coven.
  226. 2:00 PM    ENV    Reading: Lila Garrott. Lila Garrott. Lila Garrott reads an excerpt from an unpublished novel, and possibly one or two published reviews.
  227. 2:30 PM    EM    Reading: Theodora Goss. Theodora Goss. Theodora Goss reads from a short story, "Cimmeria: From the Journal of Imaginary Anthropology," that will shortly be appearing in Lightspeed.
  228. 2:30 PM    ENV    Reading: Sonya Taaffe. Sonya Taaffe. Sonya Taaffe reads the short story "The Trinitite Golem" and assorted new poems.
  229. 3:00 PM    F    Readercon 25 Feedback Session. . Come tell the Readercon concom and hotel staff what worked well at this year's convention and what can be improved next year.