by Elena Kovalenko Editor’s note: This piece is part of the series Perspectives in Translation, where creators discuss the many facets and challenges of translating fiction. The terms “source language” and “target language” will be used throughout this series. If you’re a writer, translating your work into a different language may seem straightforward. After all, […]
by Libby Schultz The future of digital currencies offers science fiction writers a unique opportunity to enhance their worlds. As a fintech founder and entrepreneur in the crypto industry, I navigate these topics daily alongside regulators, innovators, and organizations. Related challenges impact every level of society, from the people struggling to make ends meet, to […]
by Jeremy Zentner Editor’s note: This piece is part of a rolling series, Writing from History, in which creators share professional insights related to the work of using historical elements in fictional prose. Fifty million dead, continents in ashes, and the emergence of a global struggle between two superpowers: World War II changed the path […]
by Carrie Finch Editor’s note: This piece is part of an occasional series titled Writing by Other Means, in which authors share personal experiences and industry intel around different production contexts and writing tools. Painters have brush and canvas. Dancers have mirrors and marley floors. Musicians have their instruments and the loving maintenance they require. […]
by Samuel Poots Editor’s note: This piece is part of a rolling series, Writing from History, in which creators share professional insights related to the work of using historical elements in fictional prose. In 2009, I met my hero. I was eighteen, painted blue, and wearing a borrowed kilt, a brave choice for November in […]
Welcome to the November edition of the SFWA Market Report. Please note: Inclusion of any venue in this report does not indicate an official endorsement by SFWA. Those markets included on this list pay at least $0.08/word USD in at least one category of fiction. This compilation is not exhaustive of all publication opportunities that pay […]
by Marie Croke Editor’s note: This piece is part of a rolling series, Writing from History, in which creators share professional insights related to the work of using historical elements in fictional prose. As speculative fiction authors, we twist and remake reality. Yet, when it comes to retelling events or using fiction to manipulate a […]
by Anneke Schwob Editor’s note: This piece is part of a rolling series, Writing from History, in which creators share professional insights related to the work of using historical elements in fictional prose. I’ve spent a lot of time in archives and special collections: parsing handwritten letters, transcribing diaries, puzzling over telegraphs and radio transmissions. […]
by Austin Conrad Editor’s note: This piece is part of a rolling series, Writing from History, in which creators share professional insights related to the work of using historical elements in fictional prose. Online media is my preferred starting point when seeking historical inspiration for my game writing—especially my recent fixation on King Arthur. If […]
by Eugen Bacon Editor’s note: This piece is part of an occasional series titled Writing by Other Means, in which authors share personal experiences and industry intel around different production contexts and writing tools. You have a novel, a novella, a short story in your head—you just need to write it. The muse is humming, […]
This sweeping urban fantasy explores what it means to be human in a world where humanity itself may be optional, where ancient gods run pawn shops, and where the difference between monster and hero often depends on which side of the story you’re telling.
Garrett Boatman is the author of Stage Fright, Floaters, Night’s Plutonian Shore, The Clocks of Midnight, The Mirror of Eternity, and A Prisoner of Dreamland. His stories have appeared in numerous magazines and anthologies.
