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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

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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?

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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
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Guest Post: Mike Baron on Horror Comics

Cover of Nexus Origin.Literature is the best medium for horror, and comics are the worst. Literature succeeds because of the power of words to suggest, to take you ninety percent there, and leave that final ten percent up to you. The horror we imagine in the darkness of our minds far exceeds anything that can be set down on paper in words or pictures. We love horror because it allows us to exorcise our fears in a safe and fun manner. It usually delivers a moral epiphany, as Mary Shelley intended.

There’s also existential horror with no good guys or bad guys, like The Devil’s Rejects. Without a moral epiphany no film can hope to reach a wider audience. Exorcist is not only the scariest movie ever made, it’s one of the most moral.

But enough about that. We’re talking scares. Movies do horror well as they control not only pacing, but every aspect of the experience. They can manipulate what you see — or what you think you see –on the screen. They can scare the bejesus out of you with sudden motion, unexpected thrusts from unexpected places. These tropes prove irresistible to hack filmmakers who fill their film with ominous musical crescendos and fake scares. Which brings us to pacing. You want to catch your audience off-balance; that’s why you throw in the fake scare followed a split-second later with the real scare.

Comics can’t do that. They must rely on the storytelling alone for inevitably, when the big scene comes — the full-page panel of the werewolf or the witch or the monster — it’s just a drawing on paper. Sure, there have been some horrible drawings in comics –pictures of torture or mutilation — but is this really horror? Or is it just Grand Guignol? You set the comic down and it goes away.

Horror is an intimate, terrifying sensation. It’s far more than disgust, and you all know what I’m talking about. You can count on the fingers of one hand those movies that touch on real supernatural evil. They’re the ones you remember.

Why are horror comics so popular?

People love the genre and the whiff of cheese issuing from the sideshow exhibit. The great EC tales in Shock Suspenstories, Tales from the Crypt and their ilk create horror by leaving the protagonist in a horrible situation. Buried alive. Chained to a corpse in a desert. As children, we can all relate because we can all imagine ourselves in that situation. The best comic book horror succeeds through powerful storytelling and great characterization. Alan Moore’s Swamp Thing or even Al Capp’s Li’l Abner, like the time Abner was trapped in the mushroom cave with no hope of rescue. We experience a visceral horror through the protagonist because we care about him, her, or it. It’s not the same jolt as in the George C. Scott movie The Changeling when that ball comes bounding down the stairs.

In Nexus, Steve Rude and I are always trying to put our finger on the pulse of evil. But true horror depends on the unknowable — and we don’t know the unknowable. So how can we show it? The best we can do is dance around the edges and try to capture aspects of evil that ring true.

In comics, as in life, the true horror lurks just beyond our senses.


Photo of Mike Baron making a claw with his hand.BIO:Mike Baron broke into comics in 1981 with Nexus, his groundbreaking science fiction title co-created with illustrator Steve Rude; the series garnered numerous honors, including Eisners for both creators. A prolific creator, Mike is responsible for The Badger,Ginger Fox, Spyke, Feud, and many other comic book titles. Baron has also written numerous mainstream characters, most notably DC’s The Flash, Marvel’s The Punisher, and several Star Wars adaptations for Dark Horse. He lives in Colorado with his wife, dog, cat, and wildebeest.

Find out more at Mike’s website www.bloodyredbaron.com or on Twitter @BloodyRedBaron.


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. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

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Guest Post: Score One for Music by B. Morris Allen, "¨Editor, Metaphorosis Books and Metaphorosis Magazine

What if prose were written like music? What if, instead, of a common world, stories in an anthology were steps on a share emotional path? Those are the questions the upcoming anthology Score is attempting to answer.

Emotions are a key part of our experience of art. The books that stick with you are often the ones that made you feel something. Even when we don’t recall the details of a plot (or painting, or movie), we’ll often recall how it made us feel. Even if you don’t recall the details of Watership Down, for example -“” the names of the rabbits, the original warren, etc. “” you probably remember how you felt about the rabbits and what happened to them. You remember how you felt when you closed the book. Even if you mislay every detail of a book, you’ll remember whether it made you laugh or cry or feel wistful.

Score is an attempt to tackle the emotional side of writing head on. A group of almost 20 authors set out not to write about robots or aliens or magic “” though we have all of those “” but to write from emotion.

What does that mean, and how does it work? It means, simply, that each of the authors worked from a coherent emotional score, knowing the emotions in the piece before and after theirs, what emotions they were to emphasize, and … nothing else. They had complete freedom of genre, topic, tone, approach, etc. “” so long as they worked with the emotions they were assigned. The result is a fascinating collection of stories with a distinct emotional progression.

Putting together the score was challenging. As the editor and ‘composer’, I defined fairly early on the emotions we would work with. I knew the direction I wanted to score to take – an overall path of ascending hope that I thought a good fit to the times “” but choosing emotional terminology that would work consistently across many different writers took some work.

In the end, we worked from a palette of six emotional ranges – six emotions with four variants each, two positive, two negative. For example, Hope ranges from Hope at the positive end to Despair at the negative end. These aren’t quite the emotional pairs used by social scientists, and we could have ended up with a wide range of others, but these six emotional ranges allowed ample scope for ups and downs. The emotions are loosely grouped into two sets – the Hope set (Hope, Curiosity, Awe) and the Joy set (Joy, Love, Lust).

Each writer was assigned a specific major and minor emotion, and the score has distinct movements. Using musical terms very approximately, there’s an Overture, a Hope triad, a Joy triad, a Bridge, a Joy triad inversion, a Hope triad inversion, and a Coda. There are high points and low points, but … spoiler alert… it all ends with Hope and Joy.

It’s been a lot of fun putting this together. While I personally often write from an emotional basis, putting together an entire score was an intriguing and challenging exercise. Each writer interpreted the task in their own way, putting their own distinct stamp on it, as artists will. The result is intriguing, and I hope will be as much of an adventure for readers as it was for all of us.

Score: an SFF symphony is out on March 2nd from Metaphorosis Books.

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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