S. Qiouyi Lu
salt and salt and glorious salt.


Writing the Other: Deep Dive Into Neopronouns Course!

If you missed my WisCon 42 Neopronouns Workshop, I'm offering a more fleshed out, in-depth version through Writing the Other as a Deep Dive course that can be taken from any location at your own pace between November 3 and November 11, 2018. More details about the course, registration fees, discounts, and scholarships are available through the Writing the Other website.

Until September 10, 2018, if you sign up for Writing the Other's Master Class on Writing for Trans and Non-Binary Narratives, you can save $25 on registration for both courses!

WisCon 42: Weird West Panel

Despite being scheduled at 8:30 am, the Weird West panel at WisCon was well-attended and led to some great discussion. I’m posting my rough notes from the panel; my questions are bolded, and my comments are in brackets when they occur in panelists’ responses. Please keep in mind that these are very rough notes combined with my own recollection and are not verbatim transcripts of what was said at the panel.

Panel Description

Weird West | Sunday, May 27, 2018 from 8:30–9:45 am in University B
S. Qiouyi Lu (moderator), Natania Barron, Eric M. Heideman, Gayathri Kamath

Westworld and Wynonna Earp are mining the American West for both science fiction and supernatural horror in what are essentially closed societies. What makes the West so suitable for being Weird? What does the setting contribute to these shows in particular? And how are these shows commenting on the outside world?

Panel Discussion

What defines a western versus a weird western? What are some themes that recur in weird westerns?

GAYATHRI: The gunslinger, the stranger coming into town. A certain backdrop and time period. The use of guns as protection because the law wasn’t always available.

NATANIA: An unknown quantity: the uncovering. There are consequences to the unknown, to visiting a town that’s not quite right. Groups of people creating microcultures and something new; the discomfort of those moments. You’re picking at a scab. Some examples: Godless (TV series), The Beguiled (film).

ERIC: Culture clashes. Codes of honor.

What are some of your favorite weird westerns?

GAYATHRI: The Wild Wild West (TV series and movie; notes movie had some bad representation of trans women and race), Wynonna Earp (TV series), where the gun is embodied with magic and only one person can wield it.

NATANIA: Weird westerns often don’t find much commercial success. Territory by Emma Bull. The Devil’s West series by Laura Anne Gilman: an inclusive, cool series. Joe Lansdale’s work, where you often have to sit down and breathe after short stories. Boneshaker by Cherie Priest—it’s set in Seattle, but still follows with the expansion themes of westerns.

ERIC: Seconds Territory. The Adventures of Briscoe County Jr. (TV show). There’s a self-referential attitude. A Million Ways to Die in the West (movie).

How much of the “weird western” is a conception of an alternate history, versus just a setting or an aesthetic?

GAYATHRI: There’s a sense of space and tension, but there’s also room for alternate histories where colonization doesn’t happen. Wynonna Earp is set in the present day, but it’s still often considered a western.

NATANIA: The western often involves the moment of turning over a rock and seeing how everything changes. The Blade Itself by Joe Abercrombie is set in a time where colonization is just beginning. There are elements and themes that may not be considered as part of the western.

ERIC: There’s a lot to argue about the specifics of what makes something a western. However, the concept of a frontier is a core element in most narratives.

What narratives and elements are missing from weird westerns?

GAYATHRI: People living as a different gender were so rampant during that time period that people didn’t even mention it. Guns also leveled the playing field and provided empowerment for people with less strength and power, such as women.

NATANIA: Mentions the Strange California anthology. San Francisco was the edge of the west, but it was a multicultural place with an old-world feel. Manufacturing and immigration were large elements of the time period. Mentions a work with an Iranian cowboy who was part of the large carpetmaking industry and stories of Chinese women who immigrated from very different parts of China. There was a lot of variation with how people behaved. Speculative fiction is an open medium, but the research still has to be plausible and give voice to the people who were there. There was also organized crime in China [that may have been replicated in the United States?]. If you can dream it, that person probably existed.

ERIC: Karen Joy Fowler’s Sarah Canary features Chinese railroad workers who encounter the mysterious Sarah Canary, who acts as a Rorschach test with how various people interpret her. You have to try to represent the various peoples from the time period and do the work.

Speaking of guns leveling the playing field for people with less power: What are some examples of how disability manifests or is portrayed in the weird western?

NATANIA: There are some representations of cognitive disability, but they are mostly played as bizarre. But there’s lots of room for representations of disability, such as PTSD and the trauma of gun wounds, since many wounds didn’t result in an instant death. Despite its various problems, Dances with Wolves did a good job of portraying infection and its consequences. There’s lots of room for exploring disability in the weird western, such as how disfigurement and genetic issues may affect people’s experiences.

I only recently found out that Chinese immigrants built most of the roads that go into Yosemite National Park. Among them was a chef who was well-respected and used innovative cooking techniques. What are some portrayals or information on cuisine that you’ve seen in the weird western?

GAYATHRI: There’s a lot to look into with regards to what natives ate. Sean Sherman’s The Sioux Chef’s Indigenous Kitchen would be a great place to start; it contains recipes that use native ingredients that would have been available at the time. In addition to native cuisines, there were several waves of immigration, including Chinese people and South Asians, who would have brought their own food and spices. White migrants would have had their own traditions as well. San Francisco was a cosmopolitan city [so you would have probably seen many of these cuisines there]. There’s also the other consideration of what you might carry as a single person on horseback.

NATANIA: Cuisine is often erased with the image of the cowboy on horseback with tins of beans and dried beef. But towns would have had different options. Contemporary natives are doing work to rediscover their indigenous cuisines; there’s a documentary about an Alaskan chef researching microgreens, seal meat, and other food that was traditionally eaten. Food connects people. It’s easy in stories like spaghetti westerns to create a villain by making an Other without food and therefore without a connection to community or cooking. Imagine the spices, curries, and fusions that would have arisen: it’s more than just opening a can of beans. The West is desperate, but food offers respite and respect.

ERIC: A recurring character is the cook, who earns people’s respect and loyalty through their skill. Mentions Red Rivers. [I’m getting a lot of results, so I’m not sure which one it is.]

What are some details that are overlooked in weird westerns? For example, in your research, have you found clothing details that are overlooked when people rely on the stereotype of what a cowboy should look like?

GAYATHRI: A lot of women wore men’s clothing simply because it was more comfortable, but dress often isn’t discussed except to Other someone. There’s also the trope of the dance hall girls, such as Miss Kitty in Gunsmoke. There’s lots of tropes to play with.

NATANIA: Fashion is a huge topic for this time period. There’s a big contrast of wearing handmade items with the rise of manufacturing, in particular the presence of the Sears-Roebuck catalog, which sold hygiene goods like soap, as well as hats and pretty much everything you’d want to get the look. You could even buy a house from the catalog! There was tension between commercialization and handcrafted items. For women’s fashion, corsets were very restrictive, but the lines in the dress silhouettes were incredibly artistic. Death was also eminent, so you got a gilded concept, even with guns.

ERIC: Calamity Jane is perhaps one of the most well-known characters with an interesting outfit and style. Deadwood (TV series) is also a good reference.

Natania, you mentioned death as being eminent in westerns. What are some ways people died in the west? What were some death rituals and funerary rites that you’ve seen either in your research or in fiction?

GAYATHRI: Have Gun – Will Travel deals with this. There’s also the story of two tongs fighting over who gets to be sent home for a funeral. Would Hindu or Sikh people want a cremation, especially in a flammable prairie? There’s also the consideration of whether someone would be buried or left out for the elements. Consider also Boot Hill.

NATANIA: Death acted as a leveler. There are also cultures where the body can’t be disturbed, or where there isn’t enough time to deal with the body. What did Jews in the West do? Adaptation happens. What would it like to be a priest in the West? Faith is taken into the wilderness. Deadwood explores this question.

ERIC: Actual gunfights didn’t happen in the streets; people were often shooting behind defenses. There’s also a Twilight Zone episode about Boot Hill where all the inhabitants were revived.

Continuing along that train of thought: How does religion manifest in the weird western? I imagine it may have been more difficult to construct elaborate places of worship. Additionally, Chinese immigrants would have probably had a different experience of religion: many Chinese people adhere more to a folk form of worship than any kind of organized religion, so people often have small altars in the home that would be quite portable.

GAYATHRI: Neil Gaiman grappled with the question of how immigrants bring their gods to new lands [see American Gods]. Spiritual aspects follow you. With Hinduism, much is in the home; much can be taken with you. A Muslim cowboy would have to stop several times a day while traveling; how would someone account for that? When you consider the weird angle, that prompts the question of what kind of monsters would follow you, too. Would a djinn or a jiangshi follow its way to the West?

NATANIA: Catholics have a tradition of tying saints to certain locations and Christianizing locales with missions, knowing that people will be drawn to familiar religious figures. But these traditions weren’t as rooted and were more temporary: ghost towns are prevalent; establishments were ephemeral. What kind of religion is left behind?

ERIC: [Relates a work of fiction about Mongolia—my notes are sparse, so I’ve lost the details.]

Natania, you mentioned Christianizing forces, which have often been used to convert and oppress native populations. What are some of the oppressions that we see in westerns?

GAYATHRI: Natives were pushed out of their land. However, when the land was reopened to be settled again, there were some Ho-Chunk people who came during that open period to reclaim their land.

NATANIA: A utopic view of the West is uncomfortable and unlikely. There was a steamrolling toward a technical future. When we consider railroads, what if Chinese people didn’t do the building? Whiteness was defined against Chineseness. Newspapers from the era were rampant with blatant racism. People were oppressed in very real ways, so when you deal with people who exist and existed in fiction, you have to tread carefully to not mitigate or erase actual experiences.

ERIC: Ursula K. Le Guin’s The Word for World Is Forest takes as its central plot point a lot of the conflict and oppression that arises with colonizing forces entering an indigenous land.

Audience question: What are some examples of environmental impacts in westerns? For example, near-extinction of bison and the rise of strip mining.

NATANIA: I have a story originally published in Crossed Genres about strip mining [appears to be “Dead’s End to Middleton,” reprinted in EscapePod]. There was a lot of opportunity; greed over resources was prevalent. Animals like the carrier pigeon went extinct because people didn’t consider the impact of their actions.

ERIC: There’s the story “The Ugly Chicken.” [My notes are sparse and I’m getting a lot of results, so I’m not sure which one this is referencing.]

Audience comment: Indigenous populations may have adapted technology in different ways and had different relationships to land and resources.

Audience question: How do you tread the line between inclusivity and cultural appropriation?

GAYATHRI: Take the Writing the Other course. As an immigrant and a nonwhite person, I have had to learn to write the Other, because those are the stories that I’ve heard. You have to acknowledge and gracefully survive making mistakes.

NATANIA: It’s anxiety-inducing, but it’s worth trying to do. The world we want to see is a diverse world.

ERIC: Make a good-faith effort.

Audience question: What are some genres that you like to see intersecting with the western?

NATANIA: There’s a lot of room for exploration narratives instead of colonization narratives, like when westerns intersect with fantasy. Characters can explore a fantasy world. Especially when it comes to steampunk, it’s through a very white, Victorian lens. What about stories of natives meeting other natives?

Post-panel comments

Many westerns don’t take into consideration the various nonbinary genders that indigenous people have and that were often in an exalted place.

Pemican is a great food to explore in western settings.

The boundary between “indigenous” and “Latinx” was a lot more fluid at the time.

Additional Resources

Eric M. Heideman runs a Western-focused event called Con-Sarnit. Con-Sarnit Eleven is taking place on June 8 and 9, 2018, in St. Paul, Minnesota. I’ve scanned a copy of the flyer and made it available for download.

Eric also provided a list of some weird westerns compiled by Con-Sarnit:


  • The Undead (1946?)
  • Westworld (1972?)
  • Outland (1981)
  • The Proposition (2003?)
  • Undead or Alive (2007)
  • Jonah Hex (2010)
  • Cowboys & Aliens (2011)
  • A Million Ways to Die in the West (2014)
  • The Revenant (2015)
  • Bone Tomahawk (2015)
  • The Dark Tower (2017)

TV Series

  • The Wild, Wild West (1960s)
  • The Adventures of Briscoe County Jr (1990s)
  • Westworld (2010s)
Neopronouns in Speculative Fiction: A Workshop

Updated June 6, 2018

I taught my first workshop at WisCon 42! I expected maybe five people to show up, and I got closer to 20. ( ゚д゚) The workshop appears to have been well-received, and many people requested the materials. So here’s an overview of the workshop as I conducted it on Friday.

Workshop Description

Neopronouns in Speculative Fiction: A Writing Workshop | Fri, 4:00–6:00 pm, CIRC | #WisConWorkshops
S. Qiouyi Lu (moderator)

Recent high-profile works in speculative fiction, such as JY Yang’s The Black Tides of Heaven and Sarah Gailey’s River of Teeth, include prominent nonbinary characters that use they/them pronouns. However, singular they isn’t the only option for gender-neutral pronouns—as early as 1976, Marge Piercy used the invented pronoun, or neopronoun, “per” in Woman on the Edge of Time. This workshop, led by nonbinary writer and editor S. Qiouyi Lu, will explore the history of neopronouns, discuss examples drawn from speculative fiction, and provide participants a welcoming space to draft their own work that uses neopronouns.


I asked participants to introduce themselves with their name, pronouns, and the reason why they’re participating in the workshop. This helps me gauge the general background level of the participants and tailor my instruction to their needs.

Most of the participants were writers who were interested in featuring nonbinary characters; several of the writers were not nonbinary, but there were also nonbinary participants as well. I anticipate that, if I teach this workshop again in the future, audiences will be similarly mixed.

Neopronoun Basics

Since the audience was mixed, I wanted to cover some basics so that our understandings were on the same page and everyone was up to speed. I made sure to emphasize:

  1. Being nonbinary includes a wide range of experiences. Broadly defined, “nonbinary” means experiencing gender outside of the traditional poles of “man” and “woman.” That can mean feeling a mixture of both binary genders, any degree of absence of both or either binary gender, or another gender experience altogether divorced from any conception of binary gender.
  2. Not all nonbinary people use neopronouns or even gender-neutral pronouns. Some nonbinary people may choose to use pronouns like she/her, which is also a legitimate expression of their identity. A nonbinary person or character may choose to use a neopronoun or not.
  3. A “neopronoun” is, in the context of this workshop, a third-person singular pronoun that is not “he,” “she,” “they,” or “it.”

I pointed people to the Pronoun Dressing Room, which is a great resource both to explore what neopronouns are out there, as well as to dynamically try on pronouns for yourself or a character.

I also briefly gave a timeline of neopronoun usage in speculative fiction. As far as I know, Marge Piercy’s Woman on the Edge of Time, published in 1976, is the first usage of a neopronoun in anglophone speculative literature. Another notable landmark is Nearly Roadkill, by Kate Bornstein and Caitlin Sullivan, published in 1996. Neopronoun usage appears to have mostly picked up after 2010 or so. I provided a printout of my Neopronouns in Speculative Fiction list as reference for other works to read.

Update: Bogi Takács notes that Dorothy Bryant’s The Kin of Ata Are Waiting for You, published in 1971, uses kin pronouns and predates Woman on the Edge of Time. Please visit eir Big Trans and Intersex Fiction and Poetry Timeline for more information on early neopronoun use toward the bottom of the page.


I printed three readings for this workshop:

I chose these particular readings for several reasons:

  1. They’re short. Since this was an open workshop session and I couldn’t contact students beforehand to assign readings, I wanted pieces that people could get through in one sitting at the workshop. If I were able to contact students before the workshop, I might assign longer pieces to read on the students’ own time.
  2. They approach neopronoun use from different angles, both in terms of setting/worldbuilding and the amount of work that the reader is expected to do. “Curiosity Fruit Machine” is implied to be a future Earth setting where neopronouns are common; the reader gets no explanation for the neopronouns. By contrast, “Grow Green” is set in a secondary world, and the neopronouns get a few lines of clear explanation. “The Handcrafted Motions of Flight” straddles a middle ground between those poles.
  3. They also approach gender and how relevant it is to the story from different angles. “Curiosity Fruit Machine” makes no comment on gender. “The Handcrafted Motions of Flight,” meanwhile, is clear and explicit with its treatment of gender, which becomes a central conflict in the piece. “Grow Green” does engage gender, but it’s more of a secondary thread to the main plot of the piece.

I had students discuss the readings afterward. It wasn’t too chatty of a crowd, so I prompted with a few questions:

  1. What effect did the use of neopronouns have on the piece for you?
  2. What was your reaction to the neopronoun use?

Several people said that it was initially jarring to read the neopronouns. I noted that, linguistically, things like nouns and verbs are open classes: it’s common and easy to add new words. However, through most, if not all, languages, other categories like prepositions and pronouns are closed classes: it’s more difficult to add new words. But it’s still possible to do so and gets easier with practice.

Several people had also said in their introductions that they came to the workshop to strengthen their rebuttals to people who try to argue against neopronouns. I made sure to emphasize here that people will often target neopronouns when they use respectability politics arguments. Whether cis or trans, some people feel that using neopronouns will harm the cause and make it more difficult for people to take nonbinary people seriously. But, in my opinion, it’s not up to nonbinary people to be acceptable to some standard; it’s up to cisnormative society to change its rules and expectations.

I also had a question about how neopronoun usage intersects with accessibility: some people with language processing difficulties or who are learning English as a second language may find neopronouns particularly hard to use. I do want to note that English is not the only language that uses neopronouns; Spanish, Chinese, and Swedish also have some neopronoun traditions. However, I didn’t have a clear answer for this question and would love to see pieces on accessibility with neopronouns with regards to disability.

Writing Exercises

I had students write from a third-person point of view for a character who uses neopronouns; they could use the neopronouns in the readings if they weren’t already familiar with sets. Since the audience also included readers who didn’t tend to write fiction, I made sure to provide a brief definition of the term “third-person point of view” so they’d have a solid foundation for what to do. I didn’t require them to write on a certain topic, but prompted with “a day in the life of your character” if people needed one.

I opened the floor to sharing pieces if people wanted to, but emphasized that that would be entirely voluntary. In the future, I would not do that, but would rather do this exercise prefaced with the note that the pieces will not be read aloud or critiqued, as my intent with this exercise is more to get people used to writing with neopronouns, rather than to provide any craft critique.

I opened the floor to discussion about the writing exercise. My discussion questions included:

  1. What did you like about using neopronouns?
  2. How was using neopronouns different from using traditional pronouns?
  3. Did you encounter any difficulties? What kinds of difficulties?

Many people noted that they wrote more slowly with neopronouns and had to constantly reference the readings to make sure they were getting the cases right. I affirmed that experience and noted that neopronoun usage does begin to feel more natural with more practice.

Another student noted that slippage with pronoun also happens. I affirmed that this was something that happens to me as well, particularly when a character’s presentation is different from what’s expected of their gender. I reminded students that, whether in real life or in writing fiction, making mistakes happens. When you use the wrong pronoun, the important thing is to correct your mistake, apologize if you’re speaking to someone (as simple as “she, sorry, I meant they”), and move on while being more mindful of pronoun usage in the future.

I had a second writing exercise prepared as well: Write from the point of view of a character (who may or may not use neopronouns) interacting with or describing another character who uses neopronouns. I didn’t actually do this writing exercise during the workshop (mostly for fear of boring people, really), but I would with the next one, as I’m not actually sure how different the writing experiences are.

Open Discussion

I then opened the workshop to general questions, concerns, comments, etc. The questions mainly fell under a few general themes:

How do I do right by nonbinary characters and people if I’m not nonbinary myself?

I noted that, in my experience, nonbinary readers bounce off a narrative when it conflates separate concepts, such as:

  • Gender and presentation: Gender is an internal experience. Of course, society reacts and interacts with people in ways that include gender, but the way a person identifies is an invisible, internal thing. When binary writers have, for example, characters who can change genders and use different pronouns, they often conflate gender change and pronoun change with a change in the character’s body or presentation. But gender can change internally without an external change, or can remain static internally while the external expression changes.
  • Gender and biology: I would say that there might be biological things that influence gender, but, for the most part, gender as a concept is separate from biology. Conflating gender identity with biology is a cissexist narrative that ignores the reality of how people experience gender.

I noted that the standard advice of having sensitivity readers (and multiple sensitivity readers, if possible) applies here, as well as the standard “do your research” spiel. I recommended finding first-person accounts on gender experiences; for example, while I haven’t read many of their pieces myself, I believe Them magazine appears to be publishing many nuanced, in-group pieces on gender.

How do I bolster my own confidence in my work if I am nonbinary?

I had a couple of responses to this question:

  • Someone has to be the first. If you want to include pronouns with your character list preface, but you’re not sure because you haven’t seen someone do it before, do it anyway.
  • But, at the same time, you might not be the first! I put together my neopronouns list because I wanted precedent and permission to use them myself and found that I wasn’t the only one who’d had the idea, and that previous work had been published. Neopronoun use seems to be getting more popular.
  • Editorial rejection usually isn’t a reflection on your work. Editorial taste is highly individual. Some editors don’t like neopronouns, just like some editors don’t like second-person point of view, or some editors simply don’t like nonbinary people. Magazines like Uncanny and Shimmer have reaffirmed that they have no problems with neopronouns, so the markets and the magazines are out there.

How do I ensure that my nonbinary character(s) are embedded in community and not tokenized?

I treat community for characters like family. Many writers take the shortcut of writing dead parents simply because they don’t want to deal with characters’ families. I pushed back against that and advised people to consider why a person does or does not have community: was it purposeful estrangement? Accidental isolation? Or are they very embedded in community? Secondary characters must still have a coherent storyline from their point of view; if they only ever serve to support a main character’s story, that’s likely a sign that they’re not very well-developed.

I believe that covers the content of the workshop—my notes are sparse, so I may come back to fill things in that I missed.

If you have any questions or comments, please feel free to leave them below. If you’d like me to teach this workshop at your event, or if you’d like to teach or adapt this workshop yourself, please contact me.

Emotional Manipulation Still Sucks, Even If Your Cause Is Just

I recently followed someone on Twitter because a friend had recommended them as a voice to listen to if I wanted to learn more about a particular political issue. But just a day or two later, I found myself unfollowing this new person. They relied heavily on the types of guilt trips and emotional manipulation that I can no longer tolerate, but that are so insidious in activist and social justice circles.

I get it. We want to do the right thing. We want to help people. We get frustrated when we see people ignoring issues that are important to us.

But we can’t use guilt trips and emotional manipulation to motivate people into political action. For one, it opens the path to further toxicity and abuse that feeds off a foundation of anxiety and vulnerability that disproportionately afflicts already marginalized people. For another, I just don’t find it an effective way to form lasting relationships where people are internally motivated to provide support.

Besides, there are many reasons why I may not have taken action, why I might not have made a statement, or why I haven’t retweeted something. I might not have seen it. It might already be all over my timeline or discussed in private. It might include graphic images or recordings of violence, and I don’t want to retraumatize people with that. None of that means that I don’t care about the issue.

These guilt trips take many forms, but these are some of the most common structures I see, along with how I’d phrase the sentiment without relying on emotional manipulation, as well as an explanation of why I think it’s shitty to use that particular framing.

Instead of “If you support x, then you must do y,” try saying, “Here are some ways to support x.”

Even many experts disagree on the best course of action for remedying social issues. Besides, victims may not all agree on what constitutes “justice” for them. Acting like there’s only one way to support a cause puts undue pressure on people to take that particular course of action. That pressure is especially problematic when the support goes toward an organization that doesn’t have a good track record, or when an article to be shared is couched in oppressive rhetoric that further marginalizes people.

Instead of “If this were happening to x group, everyone would be outraged, but because it’s happening to y group, no one cares,” try saying, “This issue is underrepresented in mainstream media.”

Almost every time I see this rhetoric, it’s not even true: that terrible thing has likely happened to x group, and people still don’t care. I see this leveraged a lot against Black people in particular, which is shitty for a couple reasons: (1) It assumes that hypervisibility is a privilege when it is in fact another form of erasure and is not actually preferable to invisibility, and (2) It’s used as a wedge to drive marginalized communities apart, when we should instead recognize our common humanity and struggles and work together to dismantle oppressive structures.

Instead of “No one is talking about this,” try saying, “I’m boosting the voices of some people covering this issue and providing justice for the victims.”

It’s easy to say that no one’s talking about something, but the truth is that most of the time, someone has been talking about it—it’s just that people haven’t been listening. But by saying that no one’s talking about it, you’re erasing the work and effort of activists already on the field. By shifting the focus to boosting voices, you acknowledge the work that’s already been done while bringing the conversation to the forefront.

I believe the best allies are people who are internally motivated to help because they have been given the agency to make that decision for themselves. They aren’t acting out of a fear of consequences, but rather a genuine belief in the cause. Emotional manipulation and guilt tripping only serve to make people act out of anxiety. It’s a shallower understanding of the issue that leads people to feel burnt out and make fear-induced mistakes.

Much as social media has made it easy for opinions to be polarized or turn into all-or-nothing arguments, the truth of the world is that it’s hardly ever that easy. It’s okay to take your time listening, learning, and familiarizing yourself with the nuances of a situation before providing your viewpoint, if you decide to enter the conversation at all. In fact, if it’s not something that affects you—if you are acting as an ally to the community, rather than an affected member—it’s okay to stay in your lane. It’s even the best course of action a lot of the time. You can still do a lot from that position.

Social issues are complicated, tangled, and emotional for many people. It’s fine and normal to feel emotional about an issue. Anger is okay, and using that anger to fuel your support for justice can be productive. But if you’re outraged all the time or angry for the sake of being angry, you can burn out very quickly. It’s okay to tap out for self-care. And because these issues are so emotional, it’s okay to take some time to parse through the nuances and have no opinion or a nebulous opinion as you’re evaluating the situation. It’s okay to take the time to learn. The most effective community support comes from listening to what the affected people actually want and learning about their situations, rather than jumping in assuming you know what’s best for people.

In the end, I still return to the common metaphor I’ve heard for engaging with social justice: You need to put your own oxygen mask on before you help someone else with theirs. You’re no use to anyone if you’re stretched so thin that the lightest touch will snap you apart. We can’t fight every battle or understand everything perfectly; in fact, the more different an experience is from yours, the harder it will be to understand. But it’s more important to listen than to fully understand: You don’t need to empathize with someone so deeply that you can feel their exact experience; you simply need to ask, “What do you need?” and provide that for them.

You have skills, energy, and resources that are more efficient in some places than in others. It’s okay to direct yourself toward certain causes where your support can provide the biggest impact and boost other causes where your energy and resources have less of an impact.

It’s okay to learn, to take breaks, to turn off the outrage machine. You may feel guilty sometimes when confronted with your own privilege, and that’s part of understanding what privilege means and how to use yours to help others. Just beware of people who try to leverage that guilt and manipulate it. It’s hard to spot and would be the topic of an entire book if I had the time and energy to devote to the topic, but I’m still learning, too.

What I can say now, though, is this: It’s okay to take care of yourself. It’s okay to listen instead of speak. It’s okay to learn and make your own decisions instead of doing things only because you feel pressured to.

You got this.

The S. Qiouyi Lu User Manual: Convention Edition

Hello pals! Convention season is fast upon us; for your reference, here are some notes for how I interact with people in person. If you’re looking for general convention advice, John Wiswell has some great tips.

Name and pronouns

I go by S., though I will also respond to Qiouyi. Please refer to my press kit for an audio file with the pronunciation of my full name. Please do not call me by a nickname unless I have given you prior permission to do so.

I use they/them pronouns, ae/aer pronouns, and e/em pronouns interchangeably, though I'm leaning more toward the first two these days. I will sometimes use he/him pronouns, but I do NOT use she/her pronouns. They/them is the safest choice if you’re unsure which pronoun set to use.

I consider conventions to be professional settings where I am out with regards to gender. Therefore, especially when I’m wearing a name badge or pin where my pronouns are visible, I expect the correct pronouns to be used for me. I also prefer not to be referred to as a woman, girl, lady, etc. (For a more detailed breakdown of what terms I find acceptable, please visit my gendered terms page—I do NOT expect anyone to memorize this; it’s just for reference.) If you make a mistake, please correct yourself and move on. There’s no need to make a profuse apology, as anything beyond “sorry, I meant ‘they’” typically makes the conversation very awkward for me.

When I am speaking with people in person, it can be very difficult for me to correct someone else if they use the wrong pronoun for me, as it takes me a moment to recover from being misgendered. If you see or hear someone misgendering me, please feel free to correct them, even if I don’t speak up. I do not expect corrections in non-convention settings, though, such as dining where the staff isn’t part of the convention or visiting businesses that aren’t staffed by con-goers. I would rather just enjoy my time with people in those settings than have gender talks with strangers.


I am generally pretty good at remembering faces and names, especially when there are badges I can read, but conventions are demanding and stressful for me and I have bad memory, so there may be times when I forget that we’ve interacted before. Please feel free to re-introduce yourself; it’s not a slight or a reflection of my opinion of you if I don’t remember you—in fact, I probably feel embarrassed about forgetting!

I get a lot of Twitter notifications, but I have a general sense of who interacts with me there, so please feel free to let me know that we’ve talked on Twitter. That helps me put a face to the name, especially if your handle doesn’t include the name you go by in con spaces.

I am usually okay with hugs, but I would appreciate it if you asked first, especially if you’re a stranger.

I will have business cards on me. If I forget to give you one, please feel free to ask for one. I’ve left white space on the cards so that you can write on them if you’d like.

General conversations and interactions

I speak English, Mandarin, and Spanish, in order of proficiency. If you feel more comfortable speaking in Mandarin or Spanish, please feel free to use either with me, though my speaking may not be as fluent as in English, and my Spanish listening skills are weaker than my English and Mandarin listening skills.

I am usually okay with meeting new people, but I can get overwhelmed easily in crowds, especially if I don’t know anyone there. Plus, I can be shyer in-person than online. But please feel free to approach me and say hi! Please note that WisCon usually has interaction cards, so if mine is set to red or do not disturb, I probably need some downtime and don’t want to chat or hang out at the moment. Please feel free to try again later or online, where I can respond at my leisure.

I am also an introvert and tire out quickly. If I excuse myself, it’s most likely because I need some alone time or down time. I might not explicitly phrase it as such if I don’t know you well, but rest assured that it’s more likely a reflection of my tiredness than any reflection on you.

I am allistic and don’t have any hearing issues as far as I can tell, but noisy environments can be difficult for me, and when I get tired and/or anxious, sometimes I will mumble or find forming coherent sentences more difficult. I may ask you to speak up; please feel free to ask the same of me.

I tend to drink very little alcohol, but I’m okay being around people drinking and going to bars, though I may excuse myself if people become uncomfortably rowdy or if the environment is too noisy for me. I don’t smoke, but I can be around smokers, preferably if I’m upwind of the smoke. I don’t typically use marijuana, but I’m okay being around people using marijuana with a combination of the above caveats.

I don’t have any dietary restrictions or access needs, other than the understanding that I may excuse myself early if I’m feeling overwhelmed or tired. I try to go scent-free at conventions, particularly at WisCon where there’s a low-scent policy, but I may bring some perfumes to share with people. Please let me know in advance if you’re sensitive or allergic to scents, and I will do my best to minimize use of or avoid them when we’re sharing space.

I start wearing out after 10PM or so, so I’m not usually up for late-night stuff. But please feel free to extend an invite anyway; I might show up if I’m feeling up for it.

I am happy to talk about editing and publishing in general and will have business cards for Arsenika as well. However, I prefer not to discuss the status of your submission or whether I have any feedback on your piece.


I do my best to livetweet panels, especially at WisCon. If you see me on my phone or iPad during your panel, I’m not ignoring the discussion; in fact, it’s the opposite.

Thanks for reading this post! I don’t expect anyone to memorize all this, and I understand if people forget or aren’t aware; I’m putting this here for people to reference and so I have a link to refer to in the future. If you have any questions, you may leave them below or contact me.

Photo by Hung Le.

This Is Just to Say

I will no longer associate with
or support
the SFPA
or the Rhyslings

or any of the SFPA's other
contentious awards and publications
that inexplicably thrive
in the speculative poetry scene

I am not asking your forgiveness
the organization is simply
too fraught with abuse and decay
for me to uphold it.

Thank you.

Thumbnail photo by caligula1995.

But I Am, Or I Was: Gender in "Her Sacred Spirit Soars"

I just received news that my short story “Her Sacred Spirit Soars” made it on the Tiptree award longlist! I am so excited about this. I’ve been on a longlist before—my translation of “Chimera” by Gu Shi with Ken Liu was on the Hugo longlist for novellas last year—but this is the first time a piece of my own has been longlisted for anything.

I’ve been fascinated by the response to this piece. I drafted it as part of the short story course taught by K. Tempest Bradford that I took back in fall/winter of 2015. The first draft bore absolutely no resemblance to the final draft and was a mess—but drafting is the topic of another post. The second draft was halfway between that first draft and the final version: it had elements that remain in the final draft, such as the body-swapping and experimentation angles, but also pieces that didn’t make it, including an escape from the institution and a passage that explored both characters’ nonbinariness.

I had solidified my identity as nonbinary by the time I wrote this story. In fact, I would probably trace the solidification of my nonbinariness back to around the end of 2014 or so. Before then, however, I was actively questioning my identity and wondering how valid my experience was. So, while “Her Sacred Spirit Soars” did not lead to any new discoveries about my gender, it was probably one of the earliest instances of me trying to incorporate my nonbinary gender into my fiction.

Here are excerpts of the scene in the second draft that was workshopped but later removed:

A screenreader-accessible version of the screenshots is available on Pastebin. Looking back at the actual comments and my critique notes, I notice that no one actually suggested that I remove the scene. If there was any pushback, it was mostly that it didn’t have enough context.

Yet I have a strong recollection that people commented that the scene came out of left-field. Perhaps that was me projecting my own feelings onto the critique, my own doubts, my reluctance to defend something that felt so precarious to me at the time. Note that I didn’t even use the term “nonbinary” or any analogous terms in the text—rereading it, it almost feels to me as if I were hedging the writing myself, too hesitant to say anything about identity outright.

So I cut the scene and revised the story. I don’t know if I regret that move—I think the final product is stronger than this second draft and feels more cohesive and streamlined.

What fascinates me, though, is the fact that this story has been read as a trans narrative by multiple people, to the point where Bogi Takács selected it for Transcendent 2, a year’s best anthology of trans fiction. And note a key element of the book’s theme: the anthology only contains fiction that includes some variety of trans/nonbinary/genderqueer representation; it doesn’t matter whether the author identifies as trans.

And today, I received the Tiptree news. The Tiptree Award is not just for fiction that explores trans/nonbinary/genderqueer themes, but gender as a whole: there are certainly works that have won or been short/longlisted that explore only, for example, cis womanhood.

But I don’t think I did any particularly heavy lifting exploring womanhood in “Her Sacred Spirit Soars.” Which brings me back to the trans/nonbinary nature of this story. When I was writing it, I certainly didn’t intend to explore gender, and if a cis person were to come up to me and tell me that body-swapping is representative of a trans narrative, my reaction would be a polite, “lolwut?” However, when trans people tell me they read the body-swapping as a metaphor, or the entire piece as a trans narrative? Then I feel there’s more to dig into.

I had originally drafted this post as a thread on Twitter, but Safari crashed and lost what I’d written. I was originally angling for a “the author is dead, long live the reader” angle, but, in exploring the thematic content of “Her Sacred Spirit Soars,” I realized that, yeah, I see it.

It’s trans as hell.

Obviously, there’s the explicit nature of the bird–human bodyswap that can be read as a kind of transition. Supernatural fandom was very influential on my aesthetic, in particular Thingstiel fandom. In Supernatural, angels have a “trueform” that can’t be perceived by humans without threatening their lives. So, to allow them to approach humans, angels possess vessels, typically portrayed in the TV series as humans. Thingstiel fandom took that possibility further: What if Castiel were water? A tree? Deer?

At the time, I thought it was a cool fantasy concept, but, looking back and seeing other trans fans who identified with the transformative nature of Thingstiel fandom, I realize that it was an aesthetic that resonated with not only my burgeoning nonbinary gender feelings, but also the heavy depersonalization/derealization that I was experiencing as a result of my undiagnosed and untreated mental illnesses.

I explicitly explore mental illness in “Her Sacred Spirit Soars.” But even without the nonbinary exploration scene from the second draft, I realize in retrospect that I explore being trans in more subtle ways in this piece. A key scene in “Her Sacred Spirit Soars” that acts as one of Meisun’s turning points is when the psychologist representing the psychological establishment insists to her that she is not a bird and must abandon those ghost bird memories in order to live as a human:

“You aren’t a bird, Meisun,” Dr. Roberts says, and anger flares in my chest.

“But I am,” I retort. Then, I doubt myself and add, “Or, I was.”

“Then you aren’t a bird anymore,” Dr. Roberts says, his voice level, and suddenly something shifts within me. “You’re human now, and you live with humans now, all right?”

Part of me resents him, but part of me considers what he says.

I am human.

And maybe humans love differently.

I want to unpack this scene from a trans perspective. Dr. Roberts insists that Meisun must choose: that to be human, she must give up any illusion that she was ever a bird. Within the story, this reaction is a natural extension of the premise of this piece. But I want to tie this back to our world: although I feel this is more visible with binary trans people, nonbinary people also experience the narrative of choosing a side. That we were “born this way.” That we “always knew” that we were trans. That our genders are not “a trend.” We must conform to a certain expectation of gender, a rooted understanding of gender that reflects some trans people’s experiences, but not all.

So I read this story as, in part, the experience of grappling with what my previous experiences mean after I had an awakening about my gender. Because I didn’t always know. I identified for over half of my life as a girl and used she/her pronouns without any issue or question. So what does that mean for me now as a nonbinary person? Do I refer to my past self with the pronouns I use for myself now, even though my past self only ever used she/her pronouns? How do I reconcile that, for me, I am nonbinary, but I used to be a girl? How do I reconcile the misogyny I have experienced (and that I continue to experience) even though “misogyny,” by its nature, refers to a hatred toward women, and I no longer identify as one?

I can’t remember where I read it and would appreciate a link if you have it on hand, but there was a tweet from a straight trans man that I saw the other day talking about how he still, to some degree, identifies with media about queer womanhood because that was his life until only recently. But he’s now a straight man. So where does that leave those experiences?

Medical and psychological establishments want us to put these messy experiences behind us and conform to a certain expectation of gender as solid and unwavering. To some degree, Meisun accepts this and resolves to adhere to Dr. Roberts’ admonishment: “I am human. And maybe humans love differently.”

But, to me, she subverts that expectation in the end:

She’ll never be you, but she’s not meant to. She had no part in them taking away our bond, and if our bond helped her so, was that such a bad thing? Besides, she’s human, and so am I; we’re not meant to be joined together like kimkim. Love for humans means flying side-by-side in the same direction, two separate beings working together.

I catch up to Yaulan and grasp her hand. She turns, surprised, and a grin spreads across her face. It’s the most beautiful sight I’ve ever witnessed, but even so, sadness still lingers in her eyes, in the way she holds herself.

But that’s okay. I’m not expecting magic, for us to live happily ever after. All I want is to be beside her and hope for the best.

I lean in and kiss her forehead, and in that moment I think, I love you.

Thanks to Molly Olguín for helping me figure out that that callback to “you” was the clincher for that last line. I want to unpack that, too: because yes, “you” refers to Yaulan here, but the reason why it’s a clincher is because it also refers to the unnamed kimkim that is addressed as “you” throughout the story. So on one hand, this final scene is a reconciliation of grief and loss as well as an understanding that mental illness is chronic and cyclic. But, on the other hand, it’s a rejection of Dr. Roberts insisting that Meisun has to give up her bird memories: instead, she integrates them with her present experience with Yaulan. “You” is both Yaulan and the kimkim, and, to me, that’s what makes the last line work thematically and resonate.

In the end, that’s what trans people do, too. We can’t just erase who we were before. That’s a necessary part of us: ghostly double-exposures where what we experienced was simultaneously true and untrue, where we were still us, and yet different. Of course, time and experience does this to everyone’s recollections, but I think it’s starker for trans people.

So that’s my take. I don’t know why I’m tearing up writing this, but I am, and I tear up sometimes when I reread this story. It still boils down to death of the author for me: art is magic in that the text can remain static, and yet it transforms depending on what interpretation and background the reader brings to it. I did this for Karin Tidbeck with my interpretation of Amatka, and others have done this for me with “Her Sacred Spirit Soars.”

Thank you for reading my story and this response, and thank you again for making the Tiptree longlist nomination happen.

“Will You Give Yourself to the World?” Unpacking Amatka’s Queer Resistance

Amatka by Karin Tidbeck has been on my radar for a while. When I read Nino Cipri’s review of it yesterday, I decided to pick the book up and was delighted to find that Amatka is available in audio.1

I went into Amatka knowing very little about the premise beyond John Chu’s tweet referencing the book and the fact that the narrative plays with language. Nino’s review also piqued my interest in reading Amatka as a queer narrative:

Amatka’s story feels queer to me on multiple levels, beyond the simple and obvious one: Vanja falls in love with her roommate, Nina, and decides to stay in Amatka after finishing her assignment to be with her. Her love for Nina informs the story, but there’s a more subtle queerness that I’m still struggling to articulate.

So here I am, doing my best to articulate that queerness, because I saw it shining as brightly as the sun through the narrative and had Thoughts about it. Spoilers ahead.

Marking as a collective construction of society

Amatka and its sister colonies exist only because they are willed to exist: the gloop that forms almost everything in Amatka can only retain its shape when it’s constantly reminded of its shape. These reminders are not just verbal, but also physical: each item must be marked in black letters with its identity. Metaphor and creativity with labels are not tolerated. For example, books may only be titled with About followed by their subject, or an otherwise literal and descriptive name.

Marking is strictly enforced. When Vanja so much as lets her naming become rote, pencil-pencil-pencil washing together so that the syllables merge and shift to become cilpen-cilpen-cilpen, the rigidity of the gloop’s form begins to slip, and Vanja is punished for her transgression.

In a conversation with my Clarion West class, Ken Liu described one strategy for making a story resonate emotionally: literalize a metaphor. In his short story “Crystal,” for example, a real, physical crystal is the literalized manifestation of the narrator’s relationship with his grandmother.

I read marking in Amatka as a literalized metaphor for the collective effort of constructing a society. Amatka is rife with rules and regulations, as symbolized by the paperwork that Vanja has to file, but it is the marking that creates the foundation of society in the colonies.

Of course, it’s easy to imagine a pencil only being able to keep its form as a pencil when given that name. But, when the metaphor here is extended, I also read it as a comment on sexuality and gender: cisheteronormativity is created through the constant reminders that such constructs exist and are real. Despite the fact that Amatka does not appear to marginalize Vanja and Nina’s same-gender relationship, the climate of the colony and the narrative still suggest a comment on heterosexuality to me: everything is done for the good of the commune; individuals police each other for the greater good. So, too, are our sexualities, our performance of gender, policed in the broader context of our society, even if there are pockets of it that feel safe.

The concept of harmony in Amatka, of conformity for the survival of the colonies, further read to me as a parallel to the experience of being closeted for many queer people: we ignore our truths to uphold our obligations to society, to protect ourselves from the consequences of deviating from the norm. It’s not uncommon to see leaders and politicians condemn queer people as heralding the downfall of society in our world; refusing to conform to the rules and regulations in Amatka and its sister colonies literally threatens the survival and existence of this carefully constructed society. Vanja’s initial horror over seeing the gloop in its raw form further reflects marking as a metaphor for social construction: without our rules and labels, we as humans have to confront the senselessness of reality, the fact that things are not as bound and demarcated as we believe them to be.

It also becomes clear to both Vanja and the reader as the story goes on that naming holds the power not only to create a society, but also to restrict it. Here, too, the parallels to constructing cisheteronormativity jump out at me: every time a gender binary is reinforced by people insisting that there are only two genders, every time someone insists on calling a trans person by a gender they’re not, these names reinforce that people are only meant to have one shape—the shape that society agrees is the “correct” shape.

To me, “queerness” as distinct from various identity terms like gay, lesbian, bisexual, transgender, and nonbinary is an action that transgresses the rigidity enforced by cisheterosexism. Cisheterosexism insists that there is only one correct way to exist: you must be one gender, the one assigned to you at birth, and you must be sexually and romantically attracted to only one gender, the other of the two genders that cisheterosexism recognizes as valid.

Vanja’s discovery of her ability to transform gloop from one shape to another, and her realization that her words have power, is thus a queer act to me. It is the moment when she realizes that the constructs placed on her by the colonies is just that—a construct. She loses her fear of the undelineated gloop and begins to see it as a source of potential. If the gloop can take a different form, then she can, too: there are other ways to live than what has been imposed by the colonies.

This discovery parallels the experiences that I and many other queer people have had. As much as labels can be used to restrict, they can also be used to recognize and create: when I discovered the term “nonbinary,” I realized that I was not the only one who felt this way about gender, and I found a validity that grounded and consolidated the vagueness of my feelings into something more concrete and coherent. There are ways to exist outside of the confines of the one narrative provided by the status quo, ways that validate fluidity and crossing categories.

Art as creative resistance

A key part of Amatka’s exploration of language is the concept of language—and art created with language—as resistance. I don’t think it’s an accident that the leader of the separatist colony is a poet, Berols’ Anna, who shows particular aptitude for language:

Vanja put the book down and opened About Plant House 3. The text was difficult to read at first. Every sentence had been whittled down until only the absolutely necessary words remained. Every one of those words was precise; it could have been lifted out of the text and hold enough meaning in itself. In Berols’ Anna’s poetry, all things became completely and self-evidently solid. The world gained consistency in the life cycle of plants, the sound of a rake in the soil. Breathing became easier.

Amatka, pg. 44

Language not only makes the world concrete, as evidenced by the marking of objects, but also our experiences, as evidenced by the way Vanja’s understanding of the world becomes more consistent through Anna’s words. On a fundamental level, we use art to process our experiences and share them with others.

But we also use art to create different ways of being and understanding:

Vanja drew the book out and opened it. Poetry, on what looked like good paper, handwritten in faded blue ink:

we speak          of new worlds
we speak          of new lives
we speak          to give ourselves
to become


“What does she mean, to become?”

Ulla looked Vanja up and down, as if she was examining her. “I might tell you sometime,” she said eventually.

Amatka, pg. 46

I also don’t think it’s an accident that one of the pivotal scenes in Amatka is Vanja discovering Evgen being forced to cull library books so that the good paper can be reused by the committee. Vanja later realizes that the good paper used to print concrete descriptions of the increasingly more fragile Amatka came from those culled books. Among the first to go in any authoritarian regime are the artists and intellectuals: our histories of art and resistance are erased, literally in Amatka’s case, and papered over with official narratives of what we’re supposed to believe.

It is therefore vital and inseparable from the narrative of Amatka that the ultimate punishment is forced aphasia:

“Why is she so important, Harri?”

“I’m not at liberty to tell you that. Only that it’s very, very important that she doesn’t speak.”

Amatka, pgs. 208–209

Speaking is an act of creation, literalized in Amatka, but also reflected in our own world: with speech, Vanja and others like her can create alternate realities and ways of living that reject the reality imposed by those in power. With art, these realities can be expanded and memorialized. Imagination is forbidden in Amatka as a threat to the status quo, and art can be the greatest embodiment of imagination and the greatest challenge to the status quo.

Words matter. Our work matters.

Give up or give in

“Give up or give in,” Nina whispered. “I gave in. I gave myself to the world.”

Amatka, pg. 213

“Will you give yourself to the world?”

Anna’s voice crashed into Vanja’s body like a wave, making her gasp for breath. That’s what Vanja was supposed to do. Vanja said it, that she gave herself, that she surrendered, everything she was. A string of syllables dribbled out of her mouth, flat and nonsensical.

Berols’ Anna watched Vanja in silence, her hair floating around her like a living thing. After a moment, she grunted. “A person creates the word. Gives in to the world, and becomes the word.” It sounds like a sigh. “You have no words. You have been separated.”

Separated from her words. The world was built on a new language, and she would not be part of it, only an observer, a watcher.

Berols’ Anna turned her head and gazed out on the chaos. “When all of this has become, you will remain; the people like you will remain, all of you, as you are, separate. But we will carry you.” She stroked Vanja’s cheek. “We will always carry you, little herald.”

An observer, a watcher, but beloved. Nina would be with her; Anna would be with her.

Amatka, pgs. 214–215

The penultimate scene of Amatka holds a power that I don’t know if I can articulate. It’s a scene that defies a single reading and feels complicated in a way that doesn’t allow me to unpack it as easily as other parts of the narrative.

If I read this scene as an extension of the themes of constructing and resisting cisheteronormativity, I see it as a reassurance. Nina’s initial line seems like a simplistic binary: the choices appear to be to live a closeted life and give up, or to be out as one’s true self and give in to the world.

But the reality is never as simple a dualism. Anna recognizes that Vanja can neither give up nor give in. She is, to me, our brethren who are forced to remain in the closet, and our elders who have often been the first to resist, yet are so often forgotten when we forge new paths.

Vanja, however, is not left behind: she has been separated, and she may not be able to participate as fully as the others, but she will be carried, still supported by the ones who see her and love her. This, to me, is a third option: an acknowledgement of people’s limitations, whether enforced by society as represented by Vanja’s forced aphasia, or out of their own reasons. We still see you. We are still here with you, supporting you even if you can only watch.

I don’t intend for this commentary to be an authoritative interpretation of Amatka, or even an accurate interpretation. There is so much to explore and comment on, whether it’s disability in the colonies or a more in-depth review of the worldbuilding. All I’m really offering here is my own reading of Amatka and an attempt at articulating how it resonated with me as a queer narrative, one of discovery not only in the fictional world, but that reflects the discovery and journey that many of us make when moving from accepting the status quo of a cisheteronormative society to carving our own way. Amatka is a quiet, understated read that will linger with me for a while yet.

Buy: Book Depository | Indiebound | Barnes & Noble | Amazon | Audible
Author: Website | Facebook | Patreon | Instagram

1. Kirsten Potter is a fantastic narrator. Often, audiobook narrators will either be too monotone for my taste or have too much of a lulling bedtime story feel to their performance; Potter, however, captures the mood of Amatka well and underscores each character’s personality with subtle variations in voice.

Take My Money: Organizations to Donate to

This is not a definitive post of organizations to donate to, nor does it try to be one. This is just a place for me to note organizations I've either worked with or whose services I've used, and who I've found to be good people. If you're looking for a place to throw your money, I can happily vouch for these folks.

Disaster Relief

Team Rubicon | Scope: International with U.S. focus

Team Rubicon is dedicated both to disaster relief services and providing veterans with volunteer and work opportunities. They are more agile than the Red Cross, which has questionable efficiency when it comes to disaster relief, and are able to deploy quickly (usually within 24 hours). Full disclosure: I am currently contracting with Team Rubicon to help produce training courses for them.

Prison Abolition

Black and Pink | Scope: U.S. only

Black and Pink facilitates pen pal relationships between incarcerated LGBTQ and HIV+ people and those in the "free world." As prisons continue to restrict visitation rights and profit off exhorbitant phone call rates, contact between inmates and the outside world becomes more difficult even as it remains just as vital. Additionally, some inmates don't have family or friends who contact them regularly, making letters and mail all the more valuable. I've written to a number of pen pals who greatly appreciate the contact. Black and Pink also has some other prison abolition programs.

Mental Health

Crisis Text Line | Scope: U.S. and Canada

Crisis Text Line offers support and deescalation of crisis situations over text and Facebook Messenger. These crisis situations are not limited to suicide but include any event that involves painful emotions. I've used their service multiple times and found it very helpful to have a third party trained in deescalation to help me move to a safer place emotionally. Plus, I feel more comfortable over text than phone, which makes this service all the more valuable to me.

The Center for Balanced Living | Scope: Central Ohio, U.S.

The Center for Balanced Living is a treatment center focused on helping those with eating disorders, though an eating disorder was personally a secondary focus when I was treated at the Center. I found the people here compassionate and supportive; to date, it's the best mental health center I've been to. They serve a limited area, but central Ohio is home to the Ohio State University, one of the largest public schools in the U.S.; students in higher education often have high rates of mental illness (article is based in the U.K., but I find it parallels the U.S. as well).


Con or Bust | Scope: International

Con or Bust is dedicated to helping fans of color/non-white fans attend SFFH conventions, which can be cost-prohibitive for most people. Con or Bust is not merit-based or need-based and only requires that you provide an itemized list of what kind of support you need. All the fans need to do is be our awesome selves, which is incredibly liberating for segments of the population who often find it difficult to ask for any kind of help, especially monetary support. I've been a recipient of Con or Bust assistance twice now and have had great networking opportunities arise out of being able to go to those cons.

The Carl Brandon Society | Scope: International

The Carl Brandon Society focuses on increasing racial diversity among both creators and audiences of speculative fiction. To this end, they provide a number of awards and scholarships; in particular, I'd like to highlight the Octavia E. Butler Memorial Scholarship, which helps two people of color each year to attend Clarion and Clarion West. I received the OEB scholarship in 2016; going to Clarion West was a huge stepping stone in my SFFH career.


Clarion West | Scope: International, U.S.-based

The Clarion West Writers' Workshop, along with its cousin the Clarion Science Fiction & Fantasy Writers' Workshop, is a launchpad for emerging authors of speculative fiction. The six-week workshop is a place where friendships and connections are forged, where writers hone their skills and work with some of the best instructors speculative fiction has to offer. It's a worthwhile experience, and Clarion West's one-day workshops are also great places to learn more about writing and craft. I attended the six-week workshop in 2016 and have also been to one of the one-day workshops.

The Organization for Transformative Works | Scope: International

The Organization for Transformative Works (OTW) runs Archive of Our Own (AO3), which is probably now the most-visited English-language fanworks archive online. The OTW also runs Fanlore, a wiki for fandom history and culture, as well as a number of other projects. I would not be the writer I am today if I did not start out in fandom writing fanfiction, so the OTW's cause in preserving and supporting transformative works is near and dear to my heart.

I'll update this post sporadically. Please feel free to suggest organizations that might be to my interests as well; thanks!

Thumbnail photo by airpix.

Award-Eligible Work 2017

Another anxiety-inducing awards season! As a member of Team Don’t Self-Reject, here’s a list of what I’ve had published in 2017. If you have difficulty accessing any of the non-free content, please feel free to contact me for reading copies.

Campbell Eligibility

I am in my second and final year of eligibility for the John W. Campbell Award for Best New Writer.


Anthologies are eligible for the Anthology category of the World Fantasy Award and the Anthology category of the Locus Award.

Strange California edited by Jaym Gates and J. Daniel Batt, April 2017 from StoryJitsu.

Features my short story “From Something Emerging.”

Sunvault: Stories of Solarpunk and Eco-Speculation edited by Phoebe Wagner and Brontë Christopher Wieland, August 2017 from Upper Rubber Boot Books.

Features my translation of the short story “Speechless Love” by Yilun Fan.

Short Fiction

All my short fiction is eligible for the Short Story category of the Hugo Award, the Short Story category of the Nebula Award, the Short Fiction category of the World Fantasy Award, the Short Fiction category of the BFSA Award, the Short Story category of the Locus Award, and also the Theodore Sturgeon Award and the James Tiptree, Jr. Literary Award.

Möbius Continuum.” Translation of 《莫比乌斯时空》 by Gu Shi (顾适). Clarkesworld, September 2017. 4,400 words.

Five minutes ago, the skies were still clear and boundless.

The moment dark clouds bore down from between the mountains, I knew we were done for. The quarrel couldn’t have been smaller; I don’t remember what exactly I did to make Lin Ke’s eyebrows twitch, but I knew she was angry. So I poured her a cup of honey water and set it on the tea table as a silent apology.

But X drank it instead.

“Speechless Love.” Translation of 《不会说话的爱情》 by Yilun Fan (范轶伦). Sunvault: Stories of Solarpunk and Eco-Speculation edited by Phoebe Wagner and Brontë Christopher Wieland, August 2017 from Upper Rubber Boot Books. 2,400 words.

Morning, April 6, 2279. As I dump eggshells into the Earth-bound trash, my hovership’s screen beeps and displays a neat line of black text:

“Hello! May I introduce myself?”

The Person Who Saw Cetus.” Translation of 《看见鲸鱼座的人》 by Tang Fei (糖匪). Clarkesworld, May 2017. 5,500 words.

Father stood beside her, looking at her homework. The computer had already gone into screensaver mode; bright green, heart-shaped clouds darted across the black interface. Father swept his hand over the screen. A depth view of the interior of a railway car burst onto the gallium nitride screen. The scenery outside sped by the windows; inside, fourteen pink goldfish sat stiffly on the same bench, their bodies swaying with the forward motion of the train, their eyes spinning as they watched the clouds whirling throughout the cabin. This was the screensaver that Father had programmed just for her.

The only one in the whole universe. He always took great pains to make strange and unique gifts for her.

“From Something Emerging.” Strange California edited by Jaym Gates and J. Daniel Batt, April 2017 from StoryJitsu. 5,000 words.

I’ve learned how to tilt my head at the right angle to lure someone in, how to fake a Duchenne smile. How to pretend to be prey when I’m anything but. Tonight, I’m out to dinner at one of the more high-end restaurants in downtown LA with a white guy named Kevin, and the only thing betraying my true nature is the side of deep-fried silkworm pupae that I’ve ordered.

A Complex Filament of Light.” Anathema 1, April 2017. 3,400 words.

After winter, spring in Antarctica is almost pleasant, most days just barely below freezing. As you make your way back to the station, you stop and glance at the horizon—you prefer these days of twilight, the soft orange glow of sun on the horizon contrasting beautifully with the deep indigo of the sky. It’s more interesting than never ending daylight, more comforting than the long nights of winter. And it’s still enough of a distinction to create the illusion of darkness, to trick your body into maintaining a circadian rhythm.

What Could Be.” Daily Science Fiction, August 24, 2017. 150 words.

My mother was from the sea, raised by the Pacific Ocean that laps at both China and the United States. When she rose salt-crusted from that amniotic love, she found that she could never stay long on either shore, that she needed to be traveling between them.

Introduction to the Journal of Interplanetary Lycan Studies, Volume 1, Issue 1.” Mad Scientist Journal, June 2017. 900 words.

The publication of the Journal of Interplanetary Lycan Studies is an opportune time to reflect on the history of our field and what we already know. Although lycans have existed in the histories of all human civilizations and have indeed been embraced in many communities, the rise of European colonialism in the 16th century spread lycanthrophobia worldwide, suppressing many lycan-oriented institutions around the globe. Asylums became the standard “treatment” for lycans; research on lycanthropy was forbidden. Lycans would not begin to regain basic rights until mass decolonization in the 20th century, and although lycan studies arose around that time, the field remained small until midway through the 20th century. At the same time, research on outer space began to take off. It took the space race of the 1950s and various concurrent movements to depathologize lycanthropy for lycans and non-lycans alike to unite to understand the factors that contribute to lycanthropy.

“Vector.” Gamut, April 2017. 1,000 words.

The crows spoke with the voices of dead children. They swooped through the air, black smudges against a tapestry of blue, cawing words torn from fevered throats. One landed on a branch outside Mei’s bedroom.

“Don’t want medicine,” it croaked.

An Abundance of Fish.” Uncanny, March/April 2017. 800 words.

Spring festival, before the fish arrive: Teresa Teng croons from the radio; I hum along as I hang paper decorations, the reds and golds bright against our cream-colored walls. You’re in the kitchen making dinner—Shanghai-style sauteéd niangao, braised cod, stir-fried green beans. Sizzle, pop. Water runs from the sink, interrupting the music for a moment, and then I hear your slipper-soft footsteps padding to me.

Curiosity Fruit Machine.” GlitterShip, February 2017. 700 words.

“What is it?” Alliq says.

Jalzy runs eir hands over the object. It’s a box of some sort, made from metal with organic paneling; a narrow lever sticks out from one side. Ey finds emself reaching out to the lever, eir fingers grasping the pockmarked knob at the end as if working from unearthed muscle memory.

“I have no clue,” Jalzy says. “But… I kinda wanna pull this and see what happens.”


All my poetry published this year is eligible only for the Short Poem category of the Rhysling Award.

Badwater.” Twisted Moon, May 2017. 26 lines.

I throw myself into your embrace, Death Valley;
your painted curves rise against the horizon, and I dip into
your navel, taste the waters that pool there: salt on my tongue,
salt slick against my fingers; salt and salt and more salt.

Inhalations.” Strange Horizons, January 2017. 30 lines.

I learned a new language today,
      one comprised
            of fragrances:

      each word a combination of
morphemes of scent,

the head note, mid note, and heart note
      forming footholds of syntax.


Please note that Arsenika is NOT eligible for the semiprozine or fanzine categories of the Hugo Award, as it has not yet the minimum issues requirement yet, but IS eligible, as far as I can tell, for the Magazine or Fanzine category of the Locus Award.

I am INELIGIBLE for the short form editor category of the Hugo Awards because I haven’t met the minimum issues requirement for the category; however, I AM eligible, as far as I can tell, for the Editor - Pro or Fan category of the Locus Award.

Thanks for your consideration and for taking the time to read my work!

Thumbnail photo by NASA.

Neopronouns in Speculative Fiction

I recently put out a call on Twitter for speculative fiction that uses neopronouns. I struggle with self-doubt, both in my personal life—it's rare for people to refer to me with a neopronoun, even if I may prefer it in the moment—and also in my writing—I want so much to use neopronouns for my characters, but I'm constantly scared of rejection on that basis. So, although it's not strictly necessary, it's still nice to have a list of precedents that show that people do put work with neopronouns out there.

Criteria for inclusion:

  • Must use a pronoun other than I, you, he, she, it, we, or they (singular or plural) to refer to at least one prominent character in the narrative.
  • Must not be cissexist or transphobic. (I have no interest in reading something for the pronouns if it's going to alienate me in other ways, after all.)

And that's it. This list will lean speculative, but I don't mind including literary/interstitial works or other media. "Prominent" is going to be a judgement call as well, but I tend to lean toward inclusion, especially if it's an #ownvoices story.

So here's the list of stories gathered from Twitter responses and my own poking around online, current as of June 6, 2018:

  • Aarons-Hughes, Rivka. Mr. March Names the Stars. 20,000 words; xe. March 2016. Non-speculative.
  • Anders, Charlie Jane. "Love Might Be Too Strong a Word." 5,700 words; be, po, y. June 2008/August 2012 (reprint). #ownvoices.
  • Arnold, June. The Cook and the Carpenter. 216 pages; na. 1973.
  • Blauersouth, Lee. Secondhand Origin Stories. 362 pages; xe. October 2017.
  • Bornstein, Kate & Caitlin Sullivan. Nearly Roadkill. 382 pages; ze. June 1996. #ownvoices.
  • Bryant, Dorothy. The Kin of Ata are Waiting for You. 225 pages; kin. 1971.
  • Byrne, SL. "The Thing with Feathers." Short story; ze. January 2018.
  • Carter, CJ. Que Será Serees: What Will Be, Serees? 354 pages; ey. May 2011.
  • Cherryh, C. J. The Chanur Saga. 705 pages; gtst. 1981.
  • Chu, John. "The Law and the Profits." The Revelator. 4,600 words; e. March 2016.
  • Edwards, RJ. "Black Holes." In Lightspeed 61: Queers Destroy Science Fiction! 8 pages; ze. June 2015 (reprint). #ownvoices?
  • Egan, Greg. Diaspora. 352 pages; ve. September 1997.
  • Gentle, Mary. Ancient Light. 576 pages; ke. 1987.
  • Gentle, Mary. Golden Witchbreed. 495 pages; ke. 1985.
  • Lechler, Kate. "Selections from “Volume S” of the Intragalactic Encyclopedia of Habitable Planets." In Dear Robot. 3,100 words; zhe. November 2015.
  • Lee, Jenn Manley. Dicebox. Webcomic; peh. Ongoing.
  • Lu, S. Qiouyi. "Curiosity Fruit Machine." 800 words; ey, xe. February 2017. #ownvoices.
  • Mardoll, Ana. Poison Kiss. 252 pages; nee. November 2015. #ownvoices.
  • Marks, Laurie J. Delan the Mislaid. Novel; id. 1989.
  • Piercy, Marge. Woman on the Edge of Time. 384 pages; per. May 1976.
  • Provost, A.E. "Sandals Full of Rainwater." Short story; hiy, yey. January 2018.
  • Ryman, Geoff. "Capitalism in the 22nd Century." In Stories for Chip: A Tribute to Samuel R. Delany. 14 pages; zie. August 2015.
  • Schofield, Holly. "The Scent that Treason Brings." 4,700 words; zie. September 2017.
  • Stirling, Penny. "Kin, Painted." 4,400 words; e, ze. July 2015. #ownvoices.
  • Stirling, Penny. "Love Over Glass, Skin Under Glass" 3,800 words; ey. September 2013/May 2015 (reprint). #ownvoices.
  • Stirling, Penny. "Walking the Wall of Papered Peaces." Short story; ze. January 2018. #ownvoices.
  • Sylver, RoAnna. The Lifeline Signal. 370 pages; xie. March 2017. #ownvoices?
  • Takács, Bogi. "The Handcrafted Motions of Flight." 80 lines; e. March 2012. #ownvoices.
  • Takács, Bogi. "The Need for Overwhelming Sensation." 5,200 words; e. September 2015. #ownvoices.
  • Takács, Bogi. "Volatile Patterns." Short story; e. January 2018. #ownvoices.
  • Wells, Martha. Artificial Condition. 160 pages; te. May 2018.
  • Wigmore, Rem. "Grow Green." Short story; ey, pry. January 2018.

I'll probably make a separate list later that includes stories that use singular they and/or stories about nonbinary characters in general, but I wanted to focus on neopronouns here.

Thanks to Bogi Takács and A.C. Buchanan for their help.

Comments are open; I can also be contacted on Twitter if you'd like to send more suggestions.