So, I don't have the energy to formally blog about the Hugos and Worldcon, but I still have some thoughts to share about the SFF community in relation to both, so I guess I'm doing a thread.
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See, growing up and SFF fan in Australia, I had no idea that the Hugos and Worldcon even existed. My SFF community was the handful of nerds I'd met and befriended IRL through various means, and even once the internet became a thing, I wouldn't have known to look the Hugos up.
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I also didn't know that SFF was technically a male-dominated field.
@TrudiCanavan has written about this, but in Australia through the 90s and onwards - my formative genre years - local fantasy was female-dominated, which impacted which overseas books made it to us.2 replies 8 retweets 398 likesShow this thread -
My early tastes in SFF were built through libraries, second-hand bookshops (and firsthand, too, though that cost more) and, very rarely, online recommendations, usually from reading bios of fellow Elfwood members (remember Elfwood?).
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And because of all this, my conception of the genre - the baseline concept of Who Writes SFF to which I was introduced - was overwhelmingly feminine. Very white and straight, too, as I'd later come to realise, but to me, SFF was written foremost by women.
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I found
@TamoraPierce in my local library, Sara Douglass in my school library. A relative gifted me Anne McCaffrey.@Kit_Kerr came from an Elfwood recommendation.@robinhobb and@KateElliottSFF were both secondhand bookshop finds. I read men, too, but women were my gospel.3 replies 6 retweets 402 likesShow this thread -
So when, as a fledgling writer in 2010, I was able to attend my very first Worldcon - an event held literally walking distance from my Melbourne house - I was mostly excited because
@KateElliottSFF would be there, and I'd get to meet her in person.4 replies 3 retweets 303 likesShow this thread -
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