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arowynd

Daily Science Fiction - 1 views

shared by arowynd on 21 Nov 11 - Cached
Sunny Jackson

Speculative fiction - Wikipedia, the free encyclopedia - 0 views

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    Speculative fiction is an umbrella term encompassing the more highly imaginative fiction genres, specifically science fiction, fantasy, horror, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history
Sunny Jackson

Basic Science Fiction Library - 0 views

  • BAXTER, Stephen. This British hard-SF writer won the 1996 Campbell Award for The Time Ships [Amazon|Powell's], a sequel to H.G. Wells' The Time Machine
  • BESTER, Alfred. The Demolished Man [Amazon|Powell's]. Flamboyant novel of murder in a world where telepathy is common. Hugo, 1953.
  • The Stars My Destination (also titled Tiger! Tiger!, 1957) [Amazon|Powell's] is another major novel, the Count of Monte Cristo in a world of teleportation.
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  • For his important short fiction, Starlight (1976) [Amazon|Powell's].
  • CADIGAN, Pat. Synners [Amazon|Powell's] won the 1989 Arthur C. Clarke Award, Fools won the 1994 award for this author who won her first acclaim as the only female cyberpunk author at the time; soon after considered the "Queen of Cyberpunk." Patterns (1988) [Amazon|Powell's] was her first major collection of short works, and Mindplayers (1987) [Amazon|Powell's] was her breakout novel.
  • CAMPBELL, John W. The Best of John W. Campbell (1976) [Amazon|Powell's]. Influential, longtime editor of Astounding/Analog, Campbell began as a writer of space epics and then turned to writing the more subtle psychological, philosophical stories collected here.
  • DOCTOROW, Cory. Doctorow is an SF author, blogger, and technology activist. He co-edits Boing Boing and contributes to many other publications. He was formerly Director of European Affairs for the Electronic Frontier Foundation. His fiction has been nominated for all the major awards and won the Locus Award and the Sunburst Award. Doctorow speaks frequently about copyright, technology, and post-scarcity economics. His Little Brother [Amazon|Powell's] won the 2008 John W. Campbell Award.
  • CHERRYH, C. J. Downbelow Station [Amazon|Powell's]. Hugo, 1982. This former high school Latin teacher writes about carefully designed future civilizations and alien societies, as well as fantasy novels, such as her Rusalka trilogy.
  • CLARKE, Arthur C. Childhood's End [Amazon|Powell's] (1953). A visionary, eschatological novel about Earth's children changing into pure mentality and joining the Overmind. Clarke is one of the three best-known contemporary science-fiction writers of his time (the other two were Asimov and Heinlein) and worth reading in any of his three moods: extrapolative, poetic, philosophical. Other important books: The City and the Stars (1956) [Amazon|Powell's]; Rendezvous with Rama [Amazon|Powell's], Hugo, Nebula, Campbell, 1974; The Fountains of Paradise [Amazon|Powell's], Hugo, Nebula, 1979; and the novelization of the Stanley Kubrick film, 2001: A Space Odyssey (1968) [Amazon|Powell's].
  • DICK, Philip K. The Man in the High Castle [Amazon|Powell's]. The United States has lost World War II, and Japan and Germany have divided it up, except for the Rocky Mountain states, where a novelist is writing a book in which the United States won the war; one of the best of the alternate-history novels. Hugo, 1963. Dick, who died in 1982, was a prolific author whose books, all of interest, dealt often with the nature of reality: Do Androids Dream of Electric Sheep? [Amazon|Powell's] (upon which the film "Blade Runner" was based, 1968); Ubik [Amazon|Powell's] (1969); Flow My Tears, the Policeman Said (Campbell, 1974) [Amazon|Powell's]; and Valis (1981) [Amazon|Powell's].
  • CHARNAS, Suzy McKee. Walk to the End of the World (1974) [Amazon|Powell's] was one of the early post-holocaust feminist dystopias, followed by Motherlines (1978) [Amazon|Powell's], a feminist utopia. "Boobs" won the 1989 Hugo.
  • FARMER, Philip JosĆ©. To Your Scattered Bodies Go [Amazon|Powell's]. The first novel in Farmer's Riverworld series, in which all past human beings are revived to find themselves living along the banks of a long river. Hugo, 1972. The first had Richard Burton as its hero, the second, The Fabulous Riverboat [Amazon|Powell's] (1971), Mark Twain. Farmer is prolific, and delights in reviving old heroes in fiction or fictionalized biography such as Tarzan Alive [Amazon|Powell's] (1972) and Venus on the Half Shell [Amazon|Powell's] (1975).
Sunny Jackson

Beneath Ceaseless Skies : : Submissions Guidelines - 0 views

  • "secondary world": some other world that is different from our own primary world in some way
  • It could be different in terms of zoology (non-human creatures), ecology (climate), or physical laws (the presence of magic).
  • It could be set on Earth but an Earth different from our primary world in terms of time (the historical past) or history (alternate history).
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  • It could have a "pre-tech" level of technology, or steampunk technology, or magic as technology, or anything else that's not advanced or modern technology.
  • the setting should contain some element that is in some way fantastical.
  • The inhabitants of this secondary world should have developed their own culture in response to the uniqueness of their world.
  • The characters should fit this culture, and the qualities of the secondary world should have some bearing on the plot.
  • We strongly prefer characters who yearn for something, external or internal, and feel driven to attain it.
  • Our favorite characters are "round characters": ones who grow and change over the course of a story instead of remaining the same.
  • Our favorite styles are lush yet still clear.
  • We have a preference for limited points-of-view, first-person or third-person, because we find it harder for a story to get deep inside a character's head from an omniscient point-of-view.
  • We find present tense occasionally pretentious and second-person point-of-view always annoying.
  • We prefer stories that are as original as possible, particularly in the setting.
  • We usually find that fairy tale-style or myth-style narratives don't provide a gritty or immediate enough perspective to make us feel the texture of the secondary world or the direness of the protagonist's struggle.
  • In addition to fantasy, we also enjoy stories set in other types of secondary world that likewise don't have modern technology, including steampunk, smoke & sorcery, weird West, sixguns & sorcery, etc.
  • very dry sense of humor
  • We prefer under 10,000 words.
  • the longer a story is, the better it must be
  • we only want self-standing stories.
  • We are not interested in reprints (stories that have previously appeared anywhere in print or online, including on a personal website or blog).
  • Multiple Submissions (more than one story submitted at a time): We do NOT accept these.
  • Please wait until you have received a reply to your submission before sending another.
  • Simultaneous Submissions (stories that are currently under submission to another market): We DO accept these, but ONLY if you state in your cover letter that your submission is simultaneous, and ONLY if you notify us IMMEDIATELY when another market accepts your story.
  • For standard acceptances, we pay 5 cents US per word, which is professional rate as defined by the Science Fiction and Fantasy Writers of America (SFWA).
  • For this payment, we purchase the following rights: First World Serial Rights First World Electronic Rights An Option to buy Non-Exclusive World Anthology Rights An Exclusive Period to buy Limited-Time Exclusive Audio Rights
  • (You can't publish that story as a first-run or "new" story anywhere else in the world, and you can't have it appear anywhere else, in print or online or as audio, before or for ninety days after we publish it. But after that you can have it reprinted online and/or in a reprint magazine and/or in any reprint anthology, like one of the many Year's Best collections.)
  • (You also can't sell the audio rights to anyone else for ninety days after we publish the story. And if during those ninety days we buy the audio rights from you, you can't have the story appear in audio form anywhere else before or for ninety days after we podcast it. But after that you can resell the audio rights, including to one of the many fiction podcast websites.)
  • We also hope that you will let us keep the story in our online archives after ninety days.
  • We are a SFWA-qualifying professional market, so any sale to us can be used to qualify the author for membership in SFWA.
  • Format your manuscript in Standard Manuscript Format. If you don't know what that is, look it up.
  • Include your name, address, and email on the first page, and a running header with your last name, the title, and page number at the top of every subsequent page.
  • We do prefer a SHORT cover letter
  • Mention the title of your story in case the attachment gets lost.
  • Type it into the body of your email.
  • If you have prior fiction sales, list the best one or two. 
  • If you've been to any writing workshops, mention them. 
  • TELL US if this is a simultaneous submission.
  • DO NOT give a synopsis or summary of your story
  • Attach your manuscript to an email
  • ".DOC" or ".RTF"
  • DO NOT send a *.DOCX file
  • Use the subject line Submission: (the title of your story)
  • your subject line MUST include the word "Submission" or our spam filter will delete your email.
  • You should receive our email auto-reply within 24 hours after sending your submission.
  • Our response times average 3-5 weeks, occasionally as long as 6-7 weeks.
  • If we post on the BCS Forums that we've replied to all submissions sent before a certain date, but you sent yours before that date, please query us using the email form on our Contact page. We really mean this; it's not necessary to wait.
  • All rejections and acceptances will be notified by email.
  • Unsolicited Rewrites:  We do not accept unsolicited rewrites of stories that we've already rejected. (That is a nearly universal policy among short fiction markets of all genres.) 
  • we don't take submissions of artwork.  But we are interested in names of artists and links to their online portfolios, so that when we are ready to buy art, we can check out their work. 
  • If you're an artist and would like us to put your name and portfolio on our list to check out the next time we're looking for artwork, feel free to send us your information using our Contact page.
Sunny Jackson

I, Robot - Google eBookstore - 0 views

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    The three laws of Robotics: 1) A robot may not injure a human being or, through inaction, allow a human being to come to harm 2) A robot must obey orders givein to it by human beings except where such orders would conflict with the First Law. 3) A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. With this, Asimov changed our perception of robots forever when he formulated the laws governing their behavior. In I, Robot, Asimov chronicles the development of the robot through a series of interlinked stories: from its primitive origins in the present to its ultimate perfection in the not-so-distant future--a future in which humanity itself may be rendered obsolete. Here are stories of robots gone mad, of mind-read robots, and robots with a sense of humor. Of robot politicians, and robots who secretly run the world--all told with the dramatic blend of science fact & science fiction that became Asmiov's trademark.
Sunny Jackson

Submission Guidelines : Escape Pod - 0 views

  • Escape Pod is
  • a science fiction magazine
  • we want that which evokes a sense of wonder, or fun, or simply makes us think about our own world in a new way.
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  • send fantasy stories to our other sister podcast, PodCastle
  • Please do not send simultaneous submissions of a single story to multiple Escape Artists podcasts (Escape Pod, PodCastle, and Pseudopod). When submitting to one Escape Artists podcast, please wait to hear back about it before submitting the same story to another.
  • We want short stories between about 2,000 and 6,000 words. The sweet spotā€™s somewhere between 3,500 and 5,000 words
  • We will buy longer, but you really have to WOW us.
  • We are closed to flash fiction as of 01/10/11.
  • above all weā€™re looking for fun.
  • Weā€™re an audio market
  • we buy nonexclusive rights
  • it doesnā€™t hurt us if a story has previously appeared in another market
  • we encourage new authors to send their work to other markets first, and then send it to us for audio rights after the story has appeared.
  • Youā€™re welcome to give us first dibs on anything you like, but consider: if your storyā€™s good enough for us to buy it, itā€™s probably good enough to sell to another market first. Why not try that, and get two audiences and two checks?
  • Weā€™re looking for fiction with strong pacing, well-defined characters, engaging dialogue, and clear action.
  • We do not discriminate between previously published and unpublished works.
  • You can get away with breaking almost any of these rules if the story is fun enough. Whatā€™s fun? We know it when we see it.
  • Humor is highly encouraged.
  • Upbeat, optimistic stories are encouraged.
  • We accept stories in e-mail, in plain text format, at the address submit@escapepod.org.
  • we prefer plain text.
  • Send it from the e-mail address at which you want us to correspond with you
  • On the Subject: line of the message, be sure to include the title of the story.
  • we use the e-mail subject to identify the story
  • In the body of the message, what we want is as follows: 1. Your name. (Your real name. The story can have a different byline, and weā€™ll credit that byline in public, but we need to know whoā€™s legally offering us this story and to whom the check should be written.) 2. Your mailing address. (We need this for contract purposes; it will be kept confidential.) 3. A cover statement briefly giving us your publication credits, and in particular telling us whether this story has been published before or adapted into audio. If thereā€™s anything we need to know about available rights, tell us that too. This section is optional, but itā€™s helpful for us to have this information if we buy your story and want to know more about you for bio purposes. (Note: When we say ā€œbriefly,ā€ we mean your top five or six publications. We have literally had people send us resumĆ©s that were longer than the story submitted. This only makes us sigh.) 4. The word count of the story, according to your word processing software. 5. The title of the story. 6. The storyā€™s byline. (Optional if itā€™s the same as your legal name.) 7. The text of the story. Use single spacing, with blank lines between paragraphs and _underscores_ for emphasis.
  • one story at a time!
  • Once youā€™ve sent us your story, we will review it and respond to you via e-mail.
  • If we decide weā€™d like it for our podcast, weā€™ll send you a contract as a PDF file in e-mail. You will sign it and send it back to us via e-mail (after scanning it), fax, or postal mail. Then weā€™ll pay you via check or PayPal and start producing.
  • we may contact you with questions about the story, its background, or pronunciations
  • cover letter
  • brief bio
  • Web site
  • we usually canā€™t give you an accurate timetable of when your story will appear in the podcast.
  • If the text of the work is currently available online for free, thatā€™s great! Let us know in your cover letter so we can link to it in the web post if we publish your story.
  • The files Escape Pod produces are released under a Creative Commons license. Specifically, we use the Attribution-NonCommercial-NoDerivatives license. Briefly, this means that the entire world has permission to distribute the podcast for free, provided they give credit for it, donā€™t try to make money off of it, and donā€™t change it in any way.
  • you retain your copyright and all rights
Sunny Jackson

The Dreaming Void - Google eBookstore - 0 views

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    Reviewers exhaust superlatives when it comes to the science fiction of Peter F. Hamilton. His complex and engaging novels, which span thousands of years-and light-years-are as intellectually stimulating as they are emotionally fulfilling. Now, with The Dreaming Void, the eagerly awaited first volume in a new trilogy set in the same far-future as his acclaimed Commonwealth saga, Hamilton has created his most ambitious and gripping space epic yet. The year is 3589, fifteen hundred years after Commonwealth forces barely staved off human extinction in a war against the alien Prime. Now an even greater danger has surfaced: a threat to the existence of the universe itself. At the very heart of the galaxy is the Void, a self-contained microuniverse that cannot be breached, cannot be destroyed, and cannot be stopped as it steadily expands in all directions, consuming everything in its path: planets, stars, civilizations. The Void has existed for untold millions of years. Even the oldest and most technologically advanced of the galaxy's sentient races, the Raiel, do not know its origin, its makers, or its purpose. But then Inigo, an astrophysicist studying the Void, begins dreaming of human beings who live within it. Inigo's dreams reveal a world in which thoughts become actions and dreams become reality. Inside the Void, Inigo sees paradise. Thanks to the gaiafield, a neural entanglement wired into most humans, Inigo's dreams are shared by hundreds of millions-and a religion, the Living Dream, is born, with Inigo as its prophet. But then he vanishes. Suddenly there is a new wave of dreams. Dreams broadcast by an unknown Second Dreamer serve as the inspiration for a massive Pilgrimage into the Void. But there is a chance that by attempting to enter the Void, the pilgrims will trigger a catastrophic expansion, an accelerated devourment phase that will swallow up thousands of worlds. And thus begins a desperate race to find Inigo and the mysterious Second Drea
Sunny Jackson

DaĆ­na Chaviano | Biography - 0 views

  • In 1979 she received the David Prize for Science Fiction for Los mundos que amo ("The Worlds I Love"), a collection of stories she authored between the ages of 15 and 19.
  • established the first science fiction literary workshop in Latin America.
  • DaĆ­na Chaviano has received numerous international awards and recognitions: Anna Seghers Award (Berlin Academy of Arts, 1990) for FĆ”bulas de una abuela extraterrestre; AzorĆ­n Prize for Best Novel (Spain, 1998) for El hombre, la hembra y el hambre; Goliardos International Award for Fantasy (Mexico, 2003); Guest of Honor at the 25th International Conference for the Fantastic in the Arts (Fort Lauderdale, 2004); and Gold Medal for Best Book in Spanish Language (Florida Book Awards, 2006) for La isla de los amores infinitos.
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  • Anna Seghers Award (Berlin Academy of Arts, 1990) for FĆ”bulas de una abuela extraterrestre; AzorĆ­n Prize for Best Novel (Spain, 1998) for El hombre, la hembra y el hambre; Goliardos International Award for Fantasy (Mexico, 2003); Guest of Honor at the 25th International Conference for the Fantastic in the Arts (Fort Lauderdale, 2004); and Gold Medal for Best Book in Spanish Language (Florida Book Awards, 2006) for La isla de los amores infinitos.
Sunny Jackson

The Internet Speculative Fiction Database - 0 views

  • The ISFDB is a community effort to catalog works of science fiction, fantasy, and horror.
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