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The Future is Queer: 11 LGBT+ Contemporary Authors Writing Speculative Fiction That You Should Know

From Octavia Butler, author of multiple Nebula- and Hugo-award-winning novels, to longtime Star Trek scriptwriter David Gerrold, LGBT+ creators have long played a major part in steering the direction of speculative fiction. And the canon has never been more diverse and fascinating than now, with authors from a wonderfully wide range of backgrounds and experiences.

In this post we want to particularly spotlight all the contemporary LGBT+ writers of speculative fiction who are bringing their own perspective to science fiction and fantasy. Whether it’s semi-autobiographical surrealism or a unique, intricately imagined other world, you’re sure to find something on this list that piques your interest. Perhaps you’ll even discover a new favorite author, or one who motivates you to write your own book!

So without further ado, here they are, for your enjoyment and inspiration: 11 LGBTQIA authors of contemporary spec fic that you should know.

1. Michelle Ruiz Keil (author of All of Us with Wings)

Keil just exploded onto the scene with the June release of her YA fantasy debut, All of Us with Wings. This elegantly crafted novel follows seventeen-year-old governess Xochi “” who, like Keil, is bisexual and Latinx “” after she and her young charge accidentally summon a pair of vengeful demons to attack people from Xochi’s past. If you’re looking for an own voice LGBT author whose stories involve fantastical elements, yet still feel incredibly down-to-earth and authentic, Keil is definitely one to add to your list. “My favorite books make me feel seen and known and accompanied”¦ less alone,” she noted in a recent interview with mitú. “My deepest hope is that is that All of Us with Wings will be that kind of company for its readers.”

2. Malinda Lo (author of Adaptation)

Like your reads dark, dystopian, and with a distinctly sophisticated voice? Lo and behold (no pun intended), you’ve found your literary champion. Malinda Lo, a Chinese-American author with several speculative fiction books under her belt, has also written for LGBT culture site AfterEllen and helped co-found Diversity in YA. (Talk about a woman of many talents!) After the success of her first novel, a queer retelling of Cinderella, Lo went on to write the sci-fi/thriller series Adaptation, which centers on a young woman named Reese as she attempts to make sense of the world in the wake of an unprecedented natural disaster “” discovering herself in the process.

3. Alex London (author of Proxy)

Though Alex London has been around for a while, he’s often published under the slightly altered pseudonym of C. Alexander London, so you may not be sure exactly who he is. Rest assured, however, that his brilliance remains intact no matter what name he’s using. London’s first series, Proxy, boasts one of the most intriguing speculative premises we’ve heard in recent years: in a post-apocalyptic society, the 1% are punished for their misdeeds by being forced to watch a proportionate sentence carried out on a proxy, or a poor person who subs in for them. But when rich boy Knox and his lower-class proxy Syd (who happens to be gay) disrupt the system, the results are both revolutionary and shockingly unpredictable “” a truly impressive feat in the oversaturated dystopian YA market.

4. J.Y. Yang (author of The Black Tides of Heaven)

Yang, a queer and non-binary author, specializes in “silkpunk,“ which draws inspiration from real-life East Asian culture and history. Their first book, The Black Tides of Heaven, kicks off with a pair of twins “” Akeha and Mokoya “” coming into their supernatural abilities. Mokoya is gifted with prophetic vision, but Akeha’s talents are a bit more slippery: he sees not just what will happen, but what could happen. This leads him to align himself with the rebellion against his government”¦ and against Mokoya, who serves it. Throughout the story, Yang demonstrates an incredible knack for characterization even in the midst of complex worldbuilding, and their full Tensorate series (which starts with Black Tides) only affirms their perfectly balanced technique.

5. Claudie Arseneault (author of City of Strife)

Arseneault’s niche is aromantic and asexual characters, reflective of her own underrepresented experience as an aro/ace woman. In City of Strife, many of the characters are explicitly asexual and aromantic, with the narrative emphasizing and celebrating their close platonic friendships. However, this is by no means the focal point of the story, which is an elaborate political fantasy about a city crumbling under the weight of various power struggles. In terms of social issues, City of Strife and its sequels deftly address everything from labor practices to racial profiling. However, Arseneault’s inclusion of ace/aro characters (and her provision of resources for readers and authors hoping to learn more) make her a sublime role model for the “A” segment of the LGBTQIA community.

6. Akwaeke Emezi (author of Freshwater)

Emezi, whose widely acclaimed debut Freshwater came out last year, says that they wrote it “specifically for people who are inhabiting marginalized realities” “” in terms of more than just gender/sexuality, but on a mental, spiritual, and overall experiential level. After reading a few pages of Freshwater, one cannot deny that this has been impeccably accomplished, as the story about a young woman battling dysphoria, trauma, and her (literal) inner demons is like nothing you’ve ever read before.

A particularly interesting aspect of Emezi’s work is their use of POV: Freshwater is narrated by the ogbanje, or malevolent spirits, that haunt the consciousness of the main character Ada. The ogbanje refer to themselves as “we” and Ada as “she,” a nod to how marginalized/isolated people often feel that their lives are out of their control “” which Emezi drew from their own experience, and which many others will surely relate to as well.

7. Carmen Maria Machado (author of Her Body and Other Parties)

Already a well-known name in literary circles, Machado published Her Body and Other Parties in 2017: a masterful fusion of science fiction, psychological thriller, horror, and weird fantasy that elevated her to speculative fiction royalty. This anthology will target all of your most primal and abstract fears, including a blood-curdling retelling of the infamous “green ribbon” ghost story, the tale of a woman whose obsession with her weight that has very unintended consequences, and a surreal series of Law and Order episodes with phantasmagorical horror elements inserted. The common thread here is the objectification and subjugation of women, which Machado presents as both universal and particular, especially through the unique lens of queerness.

8. Kameron Hurley (author of The Mirror Empire)

Even darker than Machado’s work is Hurley’s Mirror Empire, a bloody, carnal, grimdark (no hopepunk here) work of fantasy that’s not exactly palatable, but still incredibly engrossing. Why? Because Hurley turns established tropes on their heads to create a groundbreaking new world. In this book, not only are women leaders and warriors, they far outnumber their male counterparts. You could call it a matriarchy, but even that’s not a strong enough word. The women utterly dominate the males, using them as slaves and sexual objects”¦ which can be disturbing at times, but given the profusion of the reverse dynamic in fantasy, is also quite bracing. Of course, Mirror Empire cannot and should not be read uncritically (that’s the point of having morally gray characters), but Hurley’s done a stand-up job of creating a totally radical world that will especially appeal to GoT-weary female fantasy readers.

9. C.M. Spivey (author of From Under the Mountain)

Continuing in a similar vein, C.M. Spivey’s From Under the Mountain is another excellent recent addition to the high fantasy canon. It revolves around nineteen-year-old Guerline, who is thrust into the role of empress before she’s even got to grips with her non-royal identity”¦ and how she feels about her lower-class companion, Eva. But personal matters are soon eclipsed when an ancient mystical evil rears its ugly head, and Guerline alone must decide how to proceed.

Spivey himself is a longtime writer of speculative fiction, and as a panromantic asexual trans man, he is “committed to queering his favorite genres” (according to his bio) “” which clearly comes across in the unconventional fantasy novel that is From Under the Mountain.

10. Noelle Stevenson (author of Nimona)

You might know Stevenson from her work on Lumberjanes and the super-cool She-Ra reboot, but did you know she also wrote and illustrated the fantasy webcomic-turned-graphic-novel Nimona? For those who didn’t, a quick synopsis: Nimona is a spirited young shapeshifter who serves as a supervillain’s sidekick. But as the story unfolds, we see that Nimona and her boss, the knight/mad scientist Lord Ballister Blackheart, are not all they seem “” and that their purportedly “good” nemeses are hiding something. Indeed, much of Stevenson’s work involves deconstructing shallow first impressions and creating fully three-dimensional characters in their wake, breathing life into them with her artwork.

11. Larissa Lai (author of The Tiger Flu)

Rounding off our list at #11 is Larissa Lai, whose 2018 sci-fi novel The Tiger Flu was her first in 16 years! The women of this story are parthenogenic, meaning they can reproduce asexually, without men; however, they do suffer from chronic organ failure, which means they depend on a “starfish” among them to donate and then regenerate her various body parts. And when this starfish woman dies of the titular flu, her lover Kirilow has no time to grieve “” she must venture into a fully infected city to find another starfish, so she and her sisters will not die. A thoroughly original, unadulteratedly feminist work of speculative fiction, The Tiger Flu has been described by Lai as a definite challenge to her writing, but praised by critics as her best work yet.

This guest post is from Savannah Cordova, a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. She’s very interested in content marketing trends and hacks for creators. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories.”

#SFWAAUTHORS

This was a guest blog post.
Interested in blogging here?

Assembling an itinerary for a blog tour? Promoting a book, game, or other creative effort that’s related to fantasy, horror, or science fiction and want to write a guest post for me?

Alas, I cannot pay, but if that does not dissuade you, here’s the guidelines.

Guest posts are publicized on Twitter, several Facebook pages and groups, my newsletter, and in my weekly link round-ups; you are welcome to link to your site, social media, and other related material.

Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.

I prefer essays fall into one of the following areas but I’m open to interesting pitches:

  • Interesting and not much explored areas of writing
  • Writers or other individuals you have been inspired by
  • Your favorite kitchen and a recipe to cook in it
  • A recipe or description of a meal from your upcoming book
  • Women, PoC, LGBT, or otherwise disadvantaged creators in the history of speculative fiction, ranging from very early figures such as Margaret Cavendish and Mary Wollstonecraft up to the present day.
  • Women, PoC, LGBT, or other wise disadvantaged creators in the history of gaming, ranging from very early times up to the present day.
  • F&SF volunteer efforts you work with

Length is 500 words on up, but if you’ve got something stretching beyond 1500 words, you might consider splitting it up into a series.

When submitting the approved piece, please paste the text of the piece into the email. Please include 1-3 images, including a headshot or other representation of you, that can be used with the piece and a 100-150 word bio that includes a pointer to your website and social media presences. (You’re welcome to include other related links.)

Or, if video is more your thing, let me know if you’d like to do a 10-15 minute videochat for my YouTube channel. I’m happy to handle filming and adding subtitles, so if you want a video without that hassle, this is a reasonable way to get one created. ???? Send 2-3 possible topics along with information about what you’re promoting and its timeline.

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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

~K. Richardson

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Guest Post from Sandra Odell: Fantasy Audio

Steam punk girl with headphones
Check out Audible.com for even more audio fiction.
Do you recall being read to as a child? The highs and lows of a familiar voice lulling you to sleep or keeping you entertained, if only for a few minutes? Where did it happen? In bed? Curled up together on the couch or in a favorite chair? On the subway? Outside under a tree? What did the voices read? Works by Laura Ingalls Wilder? Doctor Seuss? Langston Hughes? Judy Blume? Staples such as Goodnight Moon, Pat the Bunny, The Hobbit, There’s A Monster At The End Of This Book, any of the Harry Potter books?

Readng to as a child stimulates a number of areas of growth: language development; social bonding; letter and color recognition. Not that the child cares about any of that. Reading fantasy to a child opens up worlds of possibility. When done right, all the child cares about is the next line in the story, the next fantastic moment and location that will sweep them away to somewhere wondrous where they don’t have to do chores, finish homework, or hurt, if only for a little while.

The same can be said for audio fantasy fiction as an adult. Load an audio book, click on your favorite podcast, and let someone tell you a story. I’m not talking radio dramas or stage performances, though those have their merits. I mean a story or novel, something with the “he said”, “she did”, “they saw” intact, A full package deal with one narrator or many, sound effects and music or a bare bones production. There is something about listening to a story that allows our thoughts to soar. We focus on the wonder of the written word brought to life by the tradition of passing tales from one generation to another. Good stories make us feel. Great stories make us think.

All of the above is a fancy way of saying “I like audio fiction.”

The development of easily accessibly audio fiction has opened doors to a whole new audience of readers. Whether on a bus, at home alone, in the gym, driving to work, or “too busy to read”, audio fiction is the perfect hands-free medium to indulge yourself in a bit of fancy while continuing about your day. I often listen to stories while doing household chores, and audio books frequently transform rush hour traffic into quality time. At night, I put myself to bed with my favorite fantasy or horror fiction podcast. I have friends who listen to books while jogging or working out, and one who keeps a CD collection of Bradbury’s works in the bathroom so she can “read in the tub.”

SF/F/H/YA fiction have benefited from a variety of audio markets that allow readers to sample new authors, revisit old favorites, and delve into new areas of interest. Larger chain bookstores rarely deviate from the regular offerings of the major publishing houses. Audio fiction allows you to mix it up a bit, seek out different voices, under represented voices, women writers, LGBTQ writers, writers of color, writers with disabilities.

Services such as iTunes, Audible.com, and Blackstone Audio offer short story collections and a range of full length novels. A growing number of genre fiction podcasts present a selection of short fiction from both new authors and seasoned, award-winning writers of note. Certain podcasts also produce classic genre stories that might otherwise be overlooked by modern readers in the hurry and crush to buy the next mass-market best seller. Not that there’s anything wrong with best sellers. I listen to those as well.

Audio fiction is often free in the case of podcasts, is relatively cost competitive when compared to physical books or eBooks, and is often far more portable. Multicast productions present distinct character voices, while certain narrators are skilled enough to breathe life into the story with the barest of inflections. Most podcasts are produced under a creative commons license that encourages you to share the work with friends or on any number of social media platforms so long as you don’t change the attribution or the production itself. You can loan someone an audio CD or file of a downloaded work, but please don’t give copies away. Like writers, narrators and sound crews work hard to produce the best product possible and deserve to be paid for their efforts.

So, it’s a big audio world out there. Where do you start? Check out the links to some of my favorite genre fiction podcasts below and see what tickles your ears’ fancy.

#sfwapro

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.

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Guest Post: Eric Schwitzgebel Gives One-Point-Five Cheers for a Hugo Award for a TV Show about Ethicists' Moral Expertise

When The Good Place episode “The Trolley Problem” won one of science fiction’s most prestigious awards, the Hugo, in the category of best dramatic presentation, short form, I celebrated. I celebrated not because I loved the episode (in fact, I had so far only seen a couple of The Good Place‘s earlier episodes) but because, as a philosophy professor aiming to build bridges between academic philosophy and popular science fiction, the awarding of a Hugo to a show starring a professor of philosophy discussing a famous philosophical problem seemed to confirm that science fiction fans see some of the same synergies I see between science fiction and philosophy.

I do think the synergies are there and that the fans see and value them ““ as also revealed by the enduring popularity of The Matrix, and by West World, and Her, and Black Mirror, among others ““ but “The Trolley Problem”, considered as a free-standing episode, fumbles the job. (Below, I will suggest a twist by which The Good Place could redeem itself in later episodes.)

Yeah, I’m going to be fussy when maybe I should just cheer and praise. And I’m going to take the episode more philosophically seriously than maybe I should, treating it as not just light humor. But taking good science fiction philosophically seriously is important to me ““ and that means engaging critically. So here we go.

The Philosophical Trolley Problem

The trolley problem ““ the classic academic philosophy version of the trolley problem ““ concerns a pair of scenarios.

In one scenario, the Switch case, you are standing beside a railroad track watching a runaway railcar (or “trolley”) headed toward five people it will surely kill if you do nothing. You are standing by a switch, however, and you can flip the switch to divert the trolley onto a side track, saving the five people. Unfortunately, there is one person on the side track who will be killed if you divert the trolley. Question: Should you flip the switch?

In another scenario, the Push case, you are standing on a footbridge when you see the runaway railcar headed toward the five people. In this case, there is no switch. You do, however, happen to be standing beside a hiker with a heavy backpack, who you could push off the bridge into the path of the trolley, which will then grind to a halt on his body, killing him and saving the five. (You are too light to stop the trolley with your own body.) He is leaning over the railing, heedless of you, so you could just push him over. Question: Should you push the hiker?

The interesting thing about these problems is that most people say it’s okay to flip the switch in Switch but not okay to push the hiker in Push, despite the fact that in both cases you appear to be killing one person to save five. Is there really a meaningful difference between the cases? If so, what is it? Or are our ordinary intuitions about one or the other case wrong?

It’s a lovely puzzle, much, much debated in academic philosophy, often with intricate variations on the cases. (Here’s one of my papers about it.)

The Problem with “The Trolley Problem”

“The Trolley Problem” episode nicely sets up some basic trolley scenarios, adding also a medical case of killing one to save five (an involuntary organ donor). The philosophy professor character, Chidi, is teaching the material to the other characters.

Spoilers coming.

The episode stumbles by trying to do two conflicting things.

First, it seizes the trope of the philosophy professor who can’t put his theories into practice. The demon Michael sets up a simulated trolley, headed toward five victims, with Chidi at the helm. Chidi is called on to make a fast decision. He hesitates, agonizing, and crashes into the five. Micheal reruns the scenario with several variations, and it’s clear that Chidi, faced with a practical decision requiring swift action, can’t actually figure out what’s best. (However, Chidi is clear that he wouldn’t cut up a healthy patient in an involuntary organ donor case.)

Second, incompatibly, the episode wants to affirm Chidi’s moral expertise. Michael, the demon who enjoys torturing humans, can’t seem to take Chidi’s philosophy lessons seriously, despite Chidi’s great knowledge of ethics. Michael tries to win Chidi’s favor by giving him a previously unseen notebook of Kant’s, but Chidi, with integrity that I suppose the viewer is expected to find admirable, casts the notebook aside, seeing it as a bribe. What Chidi really wants is for Michael to recognize his moral expertise. At the climax of the episode, Michael seems to do just this, saying:

Oh, Chidi, I am so sorry. I didn’t understand human ethics, and you do. And it made me feel insecure, and I lashed out. And I really need your help because I feel so lost and vulnerable.

It’s unclear from within the episode whether we are supposed to regard Michael as sincere. Maybe not. Regardless, the viewer is invited to think that it’s what Michael should say, what his attitude should be ““ and Chidi accepts the apology.

But this resolution hardly fits with Chidi’s failure in actual ethical decision making in the moment (a vice he also reveals in other episodes). Chidi has abstract, theoretical knowledge about ethical quandaries such as the trolley problem, and he is in some ways the most morally admirable of the lead characters, but his failure in vividly simulated trolley cases casts his practical ethical expertise into doubt. Nothing in the episode satisfactorily resolves that practical challenge to Chidi’s expertise, pro or con.

Ethical Expertise?

Now, as it happens, I am the world’s leading expert on the ethical behavior of professional ethicists. (Yes, really. Admittedly, the competition is limited.)

The one thing that shows most clearly from my and others’ work on this topic, and which is anyway pretty evident if you spend much time around professional ethicists, is that ethicists, on average, behave more or less similarly to other people of similar social background ““ not especially better, not especially worse. From the fact that Chidi is a professor of ethics, nothing in particular follows about his moral behavior. Often, indeed, expertise in philosophical ethics appears to become expertise in constructing post-hoc intellectual rationales for what you were inclined to do anyway.

I hope you will agree with me about the following, concerning the philosophy of philosophy: Real ethical understanding is not a matter of what words you speak in classroom moments. It’s a matter of what you choose and what you do habitually, regardless of whether you can tell your friends a handsome story about it, grounded in your knowledge of Kant. It’s not clear that Chidi does have especially good ethical understanding in this practical sense. Moreover, to the extent Chidi does have some such practical ethical understanding, as a somewhat morally admirable person, it is not in virtue of his knowledge of Kant.

Michael should not be so deferential to Chidi’s expertise, and especially he should not be deferential on the basis of Chidi’s training as a philosopher. If, over the seasons, the characters improve morally, it is, or should be, because they learn from the practical situations they find themselves in, not because of Chidi’s theoretical lessons.

How to Partly Redeem “The Trolley Problem”

Thus, the episode, as a stand-alone work, is flawed both in plot (the resolution at climax failing to answer the problem posed by Chidi’s earlier practical indecisiveness) and in philosophy (being too deferential to the expertise of theoretical ethicists, in contrast with the episode’s implicit criticism of the practical, on-the-trolley value of Chidi’s theoretical ethics).

When the whole multi-season arc of The Good Place finally resolves, here’s what I hope happens, which in my judgment would partly redeem “The Trolley Problem”: Michael turns out, all along, to have been the most ethically insightful character, becoming Chidi’s teacher rather than the other way around.

Bio: Eric Schwitzgebel is a professor of philosophy at University of California, Riverside, and a cooperating member of UCR’s program in Speculative Fiction and Cultures of Science. His short fiction has been published in Clarkesworld, F&SF, and elsewhere. He regularly blogs at The Splintered Mind on topics in philosophy, psychology, and science fiction. His third book, tentatively titled Jerks, Zombie Robots, and Other Philosophical Misadventures is forthcoming with MIT Press.

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.

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