Every year, the readers of Analog and Asimov’s Science Fiction get to vote on the best stories and poems that appeared in these venerable fiction magazines. I remember the thrill when I got an email a few years back saying that my novelette, “Diamond Jim and the Dinosaurs,” was a finalist. I was deeply honored to be among such talented writers. This year, I am exceedingly pleased to see the list of winners for 2019!
Analog Science Fiction and Fact Analytical Laboratory Winners
Best Novella–The Gorilla in a Tutu Principle or, Pecan Pie at Minnie and Earl’s—Adam-Troy Castro (September/October 2019)
Best Novelette–Bonehunters—Harry Turtledove (May/June 2019)
Best Short Story–All Tomorrow’s Parties—Phoebe North (July/August 2019)
Best Fact Article–The Venus Sweet Spot: Floating Home—John J. Vester (May/June 2019)
Best Poem–Sequoias and Other Myths—Stanley Schmidt (September/October 2019)
Asimov’s Science Fiction Readers’ Award Winners
Best Novella–Waterlines—Suzanne Palmer (July/August 2019)
Best Novelette–In the Stillness Between the Stars—Mercurio D. Rivera (September/October 2019)
Best Short Story–Sacrificial Iron—Ted Kosmatka (May/June 2019)
Best Poem–A Street Away—Jane Yolen (January/February 2019)
Better yet, this year you can watch astute editors Trevor Quachri and Sheila Williams announce the winners and watch the finalists acceptance speeches and letters. What could be better? Well, reading these insightful and engaging works! You can do that too!
Check out all the Asimov’s finalists!
Check out all the Analog finalists!
Over the weekend, the science fiction and fantasy community lost Gardner Dozois, writer and editor extraordinaire. I’ve known Gardner for decades and wanted to share with you a single instance illustrating how remarkable he was.
Gardner did a stint as the editor-in-residence for the Clarion Writers Workshop the year I attended. Over the four-day period he not only lectured and extended his own unique brand of friendship to every one of us. It was apparent that he wanted us to become the best writers we could be. To that end, he read all the stories we submitted when applying to Clarion plus every single story every one of us had written in the four weeks we’d been there. This had to total around 80-100 stories and he read them during those four days! Then he held one-on-one conferences with each of us in which he critiqued our stories, gave suggestions for what needed work, how to tackle problematic aspects of those stories, and even told us which ones were not worth any more work. His help was above and beyond what any of us had expected, all the more so when I stop and think back on what he could and did accomplish in a mere four days.
When Gardner took his leave of us, my head was spinning! And yet, what he did not do was tell any of us that he wanted to buy our stories for Asimov’s Science Fiction. While disappointing, it wasn’t surprising that none of us had written an Asimov’s-worthy story—yet. Naturally, Gardner could see more clearly than we could that writing is a long game. He did buy from some of us later and/or gave us an honorable mention in one of his year’s best anthologies.
I came away from Clarion vowing to sell Gardner a story. Alas that never happened. But here’s what did occur: Gardner’s advice helped me sell some of my Clarion stories once they had been rewritten from start to finish. A couple of those eventually went on to find homes in Asimov’s sister magazine, Analog. So in closing, I want to thank Gardner for helping to make me the Analog writer I became.