Following Singaporean author Joyce Chng's post "We Don’t Even Factor At All", she, Aliette de Bodard (France), Csilla Kleinheincz (Hungary), Kate Elliott (US), Karen Lord (Barbados), and Ekaterina Sedia (Russia/US) discuss the state of the genre for women.
Csilla Kleinheincz: “Many of the women who write SFF in Hungary are not even published and have to turn to POD or self-publishing, and not because of the lack of talent. Before being recognized as part of world SF they need to be recognized in their own country, hardships that those who have the privilege of being men or US citizens or native speakers are not aware of.”
Karen Lord: “Let’s assume, purely for the sake of argument, that women are inclined (nature or culture?) to write and to enjoy a certain type of fiction. Is there a hint of judgement attached, that the male-dominated subgenres are, if not more lucrative, more prestigious? More likely to be ‘true’ sci-fi? I have a vague impression, completely unsupported, that more women write speculative fiction that crosses from genre into literary (there’s another arbitrary boundary with value judgements attached). Do male writers who produce soft, near-literary sci-fi find themselves overlooked when it comes to awards and mentions from genre reviewers?”
Ekaterina Sedia: “I feel like I’ve been banging my head against the wall with this topic — the one-way street of SF, where English-language works get translated all over the world, while the reverse is not true. While we can talk about English being an equalizer language (as Csilla mentioned), it also works as an effective tool of exclusion: it is so dominant that the expectation is for the rest of the world to speak English, not to try and understand them. And even foreign writers who DO write in English are by no means on the level playing field with the native speakers: there is a pressure to write in one milieu, there’s a tendency of editors to assume that every non-standard usage is a mistake, there are not-so-subtle hints that maybe one didn’t write one’s books, etc etc.”
Aliette de Bodard
: “A couple of French BDs [bandes dessinées
; comics] were translated for the US market, and they didn’t work so well. More than anything, it highlighted the differences in conception between a French BD and a US comic: a French BD is a series of long episodes that are usually published a year or so apart, the individual episodes being quite thicker than a comic (usually 50 A4 pages, sometimes more). They can be standalone episodes, but also part of an ongoing series: Universal War One, for instance, one of my fave time travel SF series, is a complete story in six volumes. Comics are usually released issue by issue (sometimes day by day for the online strips); and I know there have been some problems with that when Marvel tried to publish translated BDs: there was backlash, centred on the fact that the individual episodes weren’t complete, and that people would have to wait a long time for the sequel. I think that, because the individual episodes were far longer than a single comic issue, readers expected them to be complete stories in and of themselves.”
Joyce Chng: “Then again, I have an impression even within the SFF world, paranormal romance is received with disdain or at least with a curl of the lips (that signify disgust/dislike?). I wonder why though. Is it because it’s been overdone or that paranormal romance (italics for emphasis) equates women’s writing?
"Writing is writing. I hate it when people put filters, fences, iron gates and other types of separators to make themselves special or different."