2015 Hugo Award Nominees

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  • #1631
    Earl
    Earl
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    Best Novel (1827 nominating ballots)

    • Ancillary Sword, Ann Leckie (Orbit US/Orbit UK)
    • The Dark Between the Stars, Kevin J. Anderson (Tor Books)
    • The Goblin Emperor, Katherine Addison (Sarah Monette) (Tor Books)
    • Lines of Departure, Marko Kloos (47North)
    • Skin Game, Jim Butcher (Roc Books)

    Best Novella (1083 nominating ballots)

    • Big Boys Don’t Cry, Tom Kratman (Castalia House)
    • “Flow”, Arlan Andrews, Sr. (Tor.com, 11-2014)
    • One Bright Star to Guide Them, John C. Wright (Castalia House)
    • “Pale Realms of Shade”, John C. Wright (The Book of Feasts & Seasons, Castalia House)
    • “The Plural of Helen of Troy”, John C. Wright (City Beyond Time: Tales of the Fall of Metachronopolis, Castalia House)

    Best Novelette (1031 nominating ballots)

    • “Ashes to Ashes, Dust to Dust, Earth to Alluvium”, Gray Rinehart (Orson Scott Card’s InterGalactic Medicine Show, 05-2014)
    • “Championship B’tok”, Edward M. Lerner (Analog, 09-2014)
    • “The Journeyman: In the Stone House”, Michael F. Flynn (Analog, 06-2014)
    • “The Triple Sun: A Golden Age Tale”, Rajnar Vajra (Analog, 07/08-2014)
    • “Yes, Virginia, There is a Santa Claus”, John C. Wright (The Book of Feasts & Seasons, Castalia House)

    Best Short Story (1174 nominating ballots)

    • “Goodnight Stars”, Annie Bellet (The End is Now (Apocalypse Triptych Book 2), Broad Reach Publishing)
    • “On A Spiritual Plain”, Lou Antonelli (Sci Phi Journal #2, 11-2014)
    • “The Parliament of Beasts and Birds”, John C. Wright (The Book of Feasts & Seasons, Castalia House)
    • “Totaled”, Kary English (Galaxy’s Edge Magazine, 07-2014)
    • “Turncoat”, Steve Rzasa (Riding the Red Horse, Castalia House)

    Best Related Work (1150 nominating ballots)

    • “The Hot Equations: Thermodynamics and Military SF”, Ken Burnside (Riding the Red Horse, Castalia House)
    • Letters from Gardner, Lou Antonelli (The Merry Blacksmith Press)
    • Transhuman and Subhuman: Essays on Science Fiction and Awful Truth, John C. Wright (Castalia House)
    • “Why Science is Never Settled”, Tedd Roberts (Baen.com)
    • Wisdom from My Internet, Michael Z. Williamson (Patriarchy Press)

    Best Graphic Story (785 nominating ballots)

    • Ms. Marvel Volume 1: No Normal, written by G. Willow Wilson, illustrated by Adrian Alphona and Jake Wyatt, (Marvel Comics)
    • Rat Queens Volume 1: Sass and Sorcery, written by Kurtis J. Weibe, art by Roc Upchurch (Image Comics)
    • Saga Volume 3, written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics))
    • Sex Criminals Volume 1: One Weird Trick, written by Matt Fraction, art by Chip Zdarsky (Image Comics)
    • The Zombie Nation Book #2: Reduce Reuse Reanimate, Carter Reid (The Zombie Nation)

    Best Dramatic Presentation, Long Form (1285 nominating ballots)

    • Captain America: The Winter Soldier, screenplay by Christopher Markus & Stephen McFeely, concept and story by Ed Brubaker, directed by Anthony Russo and Joe Russo (Marvel Entertainment, Perception, Sony Pictures Imageworks)
    • Edge of Tomorrow, screenplay by Christopher McQuarrie, Jez Butterworth, and John-Henry Butterworth, directed by Doug Liman (Village Roadshow, RatPac-Dune Entertainment, 3 Arts Entertainment; Viz Productions)
    • Guardians of the Galaxy, written by James Gunn and Nicole Perlman, directed by James Gunn (Marvel Studios, Moving Picture Company)
    • Interstellar, screenplay by Jonathan Nolan and Christopher Nolan, directed by Christopher Nolan (Paramount Pictures, Warner Bros. Pictures, Legendary Pictures, Lynda Obst Productions, Syncopy)
    • The Lego Movie, written by Phil Lord & Christopher Miller, story by Dan Hageman, Kevin Hageman, Phil Lord & Christopher Miller, directed by Phil Lord & Christopher Miller (Warner Bros. Pictures, Village Roadshow Pictures, RatPac-Dune Entertainment, LEGO System A/S, Vertigo Entertainment, Lin Pictures, Warner Bros. Animation (as Warner Animation Group))

    Best Dramatic Presentation, Short Form (938 nominating ballots)

    • Doctor Who: “Listen”, written by Steven Moffat, directed by Douglas Mackinnon (BBC Television)
    • The Flash: “Pilot”, teleplay by Andrew Kreisberg & Geoff Johns, story by Greg Berlanti, Andrew Kreisberg & Geoff Johns, directed by David Nutter (The CW) (Berlanti Productions, DC Entertainment, Warner Bros. Television)
    • Game of Thrones: “The Mountain and the Viper”, written by David Benioff & D. B. Weiss, directed by Alex Graves ((HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)
    • Grimm: “Once We Were Gods”, written by Alan DiFiore, directed by Steven DePaul (NBC) (GK Productions, Hazy Mills Productions, Universal TV)
    • Orphan Black: “By Means Which Have Never Yet Been Tried”, ” written by Graham Manson, directed by John Fawcett (Temple Street Productions, Space/BBC America)

    Best Editor, Short Form (870 nominating ballots)

    • Jennifer Brozek
    • Vox Day
    • Mike Resnick
    • Edmund R. Schubert
    • Bryan Thomas Schmidt

    Best Editor, Long Form (712 nominating ballots)

    • Vox Day
    • Sheila Gilbert
    • Jim Minz
    • Anne Sowards
    • Toni Weisskopf

    Best Professional Artist (753 nominating ballots)

    • Julie Dillon
    • Jon Eno
    • Nick Greenwood
    • Alan Pollack
    • Carter Reid

    Best Semiprozine (660 nominating ballots)

    • Abyss & Apex, Wendy Delmater editor and publisher
    • Andromeda Spaceways In-Flight Magazine, Andromeda Spaceways Publishing Association Incorporated, 2014 editors David Kernot and Sue Bursztynski
    • Beneath Ceaseless Skies, edited by Scott H. Andrews
    • Lightspeed Magazine, edited by John Joseph Adams, Stefan Rudnicki, Rich Horton, Wendy N. Wagner, and Christie Yant
    • Strange Horizons, Niall Harrison, editor-in-chief

    Best Fanzine (576 nominating ballots)

    • Black Gate, edited by John O’Neill
    • Elitist Book Reviews, edited by Steven Diamond
    • Journey Planet, edited by James Bacon, Christopher J Garcia, Lynda E. Rucker, Pete Young, Colin Harris, and Helen J.Montgomery
    • The Revenge of Hump Day, edited by Tim Bolgeo
    • Tangent SF Online, edited by Dave Truesdale

    Best Fancast (668 nominating ballots)

    • Adventures in SF Publishing, Brent Bower (Executive Producer), Kristi Charish, Timothy C. Ward & Moses Siregar III (Co-Hosts, Interviewers and Producers)
    • Dungeon Crawlers Radio, Daniel Swenson (Producer/Host), Travis Alexander & Scott Tomlin (Hosts), Dale Newton (Host/Tech), Damien Swenson (Audio/Video Tech)
    • Galactic Suburbia Podcast, Alisa Krasnostein, Alexandra Pierce, Tansy Rayner Roberts (Presenters) and Andrew Finch (Producer)
    • The Sci Phi Show, Jason Rennie
    • Tea and Jeopardy, Emma Newman and Peter Newman

    Best Fan Writer (777 nominating ballots)

    Dave Freer
    Amanda S. Green
    Jeffro Johnson
    Laura J. Mixon
    Cedar Sanderson

    Best Fan Artist (296 nominating ballots)

    Ninni Aalto
    Brad W. Foster
    Elizabeth Leggett
    Spring Schoenhuth
    Steve Stiles

    The John W. Campbell Award for Best New Writer (851 nominating ballots)
    Award for the best new professional science fiction or fantasy writer of 2013 or 2014, sponsored by Dell Magazines. (Not a Hugo Award, but administered along with the Hugo Awards.)

    Wesley Chu*
    Jason Cordova
    Kary English*
    Rolf Nelson
    Eric S. Raymond

    *Finalists in their 2nd year of eligibility.

    #7780

    Oh.

    Apparently a Gamergate-style anti-feminist group engaged in some ballot-stuffing to shape the nomination list, and so it took maybe all of about 15 minutes for this year’s Hugos to become embroiled in controversy. Bloody hell. [LINK]

    This year in particular there are going to be questions about whether some nominators more or less blindly voted a slate of candidates to make a statement, rather than voting their own personal set of preferences (if they had personal preferences) at all. My thought about that is what it always is: It’s done. If the rules of voting were followed, then game on.

    I also think it’s worth remembering that not everyone who was placed on a slate (or had works placed on a slate) asked to be on the slate, or necessarily supports the intention behind a slate or the people who created it. Another way to make this point: Even people you might think are assholes can have decent taste from time to time. I’m not inclined to punish creators strictly on the basis of who has nominated them, or why.

    That said, when a slate of nominees is offered whose very title explictly carries in it a desire to vex and annoy other people, it’s legitimate for people to ask whether what’s been nominated on the slate has been placed there solely on the basis of quality. It’s also legitimate for people to decide that in general, slates of nominations are not something they’re comfortable with, or wish to support. There is no rule that disallows nominating for the Hugos from a slate; there’s also no rule that disallows Hugo voters from then registering their displeasure that these slates exist.

    I also think it’s okay to penalize graceless award grasping by people who clearly despise the Hugo and what they believe it represents, and yet so very desperately crave the legitimacy they believe the award will confer to them. Therapy is the answer there, not a literary award.

    The good news, for me, at least, is that it’s generally obvious in the reading what’s on the ballot on the basis of quality, and what’s there, essentially, as trolling. Good stuff will be on my final ballot, ranked appropriately. Trollage will not. It’s just that simple.

    In sum: I think it’s possible for voters to thread the needle and give creators fair consideration while also expressing displeasure (if indeed one is displeased) at the idea of slates, or people trolling the award. This might take a little work, but then voting on the Hugos should be a little bit of work, don’t you think. This is a good year to do that.

    This is also a very good year to make sure that you do vote.

    The above is from Hugo-winning author and former SFFWA president John Scalzi’s blog. It primarily involves the literary categories – basically, an organized group with voting memberships banded together to nominate certain works en masse to squeeze off the ballot various authors with whom they had a political beef; the common thread seems to be that those squeeze out of consideration have spoken up prominently about feminist and race issues in SF and fantasy. [LINK]

    In any case, this slate of nominees has already launched a Twitter firestorm, and lots of people are planning to vote “No Award” in every category except “Best Novel.” It’s definitely a weird turn of events that, the year after Kameron Hurley’s double win, we see list of nominees that includes someone published by “Patriarchy Press.” And this new slate can only really be understood against the backdrop of ongoing, vicious fights over racism in science fiction — we could be here all day picking through the entrails, but author N.K. Jemisin gives you all the context you need to know here.

    The Hugo Awards have always been “political,” in the sense that people campaigned for them (even though I guess that was officially frowned upon.) And they were political, in that they were seen as a reflection of who gets recognition for writing science fiction and fantasy. When the nominees are mostly white men, as they have been during most eras except for the mid-1990s and the past five years, it does send a message about whose work is going to be considered valuable. And people have certainly critiqued that in previous years.

    But this year’s list of nominees seems to herald the beginning of the Hugos becoming “political” in the sense that each “side” will have its own recommended slate of nominees. People won’t get to spend months chewing over the best things they read in the previous year and grappling with their own consciences about what to nominate — instead, each side will have to decide early on which standard-bearers to double down on. Either that, or we’ll see some other solution.

    It’s so wonderful to see the troglodytes and knuckledraggers elbow their way into something else that I like.

    #7781
    ZLoth
    ZLoth
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    Sounds like a bunch of professional activists invaded for the purpose of pushing their version of “the message”.


    “You can not operate in this room unless you believe that you are Superman, and whatever happens, you’re capable of solving the problem.” – Gene Kranz

    #7782

    And the winner is… Noah Ward! [LINK]

    In a year where many categories had no winners, Guardians of the Galaxy, Ms. Marvel and Orphan Black took home Hugo Awards.

    This year’s award nominations were dominated by orchestrated slates of nominees, suggested in response to accusations that the awards were becoming increasingly insular and political. A number of fans swarmed the online nomination forms to vote on behalf of the “Sad Puppies” and “Rabid Puppies” slates, who claimed in part that white males and conservatives were being excluded from the awards. Some “Puppies” supporters expanded that more broadly to claiming it’s a popularity contest altogether and that the awards are dominated by a small group of friends voting for each other.

    Opponents of the Puppies and their actions claimed that the slates were meant to rebuild the awards in their image. Both sides accused the other of caring more about politics than merit, and of trying to exclude deserving nominees.

    Negative response to the slates by some nominees, industry professionals and other fans created a tough environment for the Hugos to manage, and along the way, voting “No Award” became an outlet for voters who either objected to the nominees or didn’t want to get caught up in the controversy.

    Wired goes into a little more depth. [LINK]

    But in recent years, as sci-fi has expanded to include storytellers who are women, gays and lesbians, and people of color, the Hugos have changed, too. At the presentation each August, the Gods with the rockets in their hands have been joined by Goddesses and those of other ethnicities and genders and sexual orientations, many of whom want to tell stories about more than just spaceships.

    Early this year, that shift sparked a backlash: a campaign, organized by three white, male authors, that resulted in a final Hugo ballot dominated by mostly white, mostly male nominees. While the leaders of this two-pronged movement—one faction calls itself the Sad Puppies and the other the Rabid Puppies—broke no rules, many sci-fi writers and fans felt they had played dirty, taking advantage of a loophole in an arcane voting process that enables a relatively few number of voters to dominate. Motivated by Puppygate, meanwhile, a record 11,300-plus people bought memberships to the 73rd World Science Fiction Convention in Spokane, Washington, where the Hugo winners were announced Saturday night.

    Just before 8 PM, in a vast auditorium packed with “trufans” dressed in wizard garb, corsets, chain mail and the like, one question was on most everybody’s minds: Would the Puppies prevail?

    Though voted upon by fans, this year’s Hugo Awards were no mere popularity contest. After the Puppies released their slates in February, recommending finalists in 15 of the Hugos’ 16 categories (plus the John W. Campbell Award for Best New Writer), the balloting had become a referendum on the future of the genre. Would sci-fi focus, as it has for much of its history, largely on brave white male engineers with ray guns fighting either a) hideous aliens or b) hideous governments who don’t want them to mine asteroids in space?

    Some of those coming out against the “Puppies” were George R.R. Martin, David Gerrold, John Scalzi, and Paul Cornell. At his private afterparty, Martin was handing out trophies he had made on his own dime to those nominees who were deliberately squeezed out by the concentrated nominations of the “Puppy” slates.

    And yeah, the “no award” categories were an organized response to an organized gaming of the system. Will it ever get back to being about “just the work”? Not sure. Maybe we just skip the Hugos next year and go straight to the Alfies (read the whole Wired article for more on that).

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