Festival of the Imagination 1996 July 1995 Newsletter – Neil Gaiman

Pages 6 and 7 of this newsletter are dedicated to a biography of Neil Gaiman “The Perfect Guest?” written by David Cake. At the bottom of page 7 is a selected bibliography which is presumably well out of date, and the quote:

“I feel I have proved one of two things: either I have fully recovered … or a hole in the head is no handicap to a science fiction writer.”
Robert A Heinlein, regarding his  brain surgery


Neil Gaiman is the most influential and critically acclaimed comics writer to have emerged in the last decade. Best known for the enormous success of Sandman, a comic that is a triumphant revival of dark fantasy as a comics genre (and some of the best fantasy in any medium, as evidenced by the World Fantasy award it won), he has also written short stories, superhero comics, some quite unclassifiable comics, and books both fiction and non-fiction. With his black clothes, hair and sunglasses, and the success of every project he turns his hand to these days (even when his involvement is peripheral), he is the epitome of cultural cool. But inside this stylish exterior is the heart of a fan, a man who has written books on the Hitchhikers Guide (The Official Guide to the Hitchhikers Guide) and the joys of really bad SF (Ghastly Beyond Belief, with Kim Newman). Yes, Neil Gaiman is my kind of a guy. I have a theory that he is actually preparing for a career as the perfect convention guest of honour – first he lays the groundwork by gaining an encyclopaedic knowledge of important random information (the two books above, the comics history and mythology displayed in Sandman, and the ability to ‘swear in several different centuries’), writes some of it down to establish his fannish credentials, and then his only remaining barrier is become famous enough to be regularly invited – so then comes Sandman. And when you consider his dress sense and his nocturnal lifestyle, it is obvious that he is going to fit in fine at a WA Con!

His first comic (he had already had books published) was Violent Cases. A complex piece about the author recollecting his boyhood meetings with Al Capone’s osteopath, through a veil of memory and childish imagination, it was also the first of his many fruitful collaborations with Dave McKean, the phenomenal artist who would later be responsible for the Sandman covers. McKean combines painting, pencil drawing and collages of found art and objects into an expressive evocative work that complements the splintered narrative well, and their reputations are assured. The pair go on to collaborate on Signal to Noise (a story about a dying filmmaker contemplating his last film, about the hysteria that accompanied the turning of the last millennium), first published in a yuppie style journal The Face, and on The Black Orchid (a story set in the DC Comics superhero universe, featuring Batman as well as the plant-woman of the title). The Black Orchid must have pleased DC a lot – shortly thereafter McKean got to revisit his unique image of Batman in Arkham Asylum (written by Grant Morrison), and Neil Gaiman got his own series, Sandman (covers also by McKean).

And it was with Sandman that Gaiman really exploded. More accessible than Signal to Noise or Violent Cases, with the freedom of creative control over the main characters, and the security of an ongoing series allowing either one issue or long stories, he created a superb fantasy series. It won a World Fantasy Award (for the story “A Midsummer Nights Dream”), and it became hugely popular. Other Gaiman projects have been just as successful. Almost everything he has ever done in comics form has been collected into graphic novel format. His non-comics fiction has been extremely successful, both his own short story collection (Angels and Visitations) and his collaboration with Terry Pratchett (Good Omens). Alan Moore has granted him the huge vote of confidence of allowing him to continue his Miracleman series. There are now several comics series that he has only peripheral involvement with, starring characters that he has created – including The Books of Magic for DC Comics, and Mr Hero and Teknophage for Tekno comics. This (and the number of single issue Sandman stories that might have easily been stretched to much longer by a lesser author) gives you the impression that he has story ideas in such creative abundance that he cannot hope to use them all as fast as he gets them.

Why is Gaiman so successful? There are a lot of reasons. One reason is that there is a shortage of good fantasy, especially in comic form – sure, there is plenty of (usually formula driven) swords and sorcery around, but not enough of the stuff that transforms and intrigues. Sandman is good fantasy that is never to a formula. Another reason is that, like many great artists, Gaiman is not afraid to steal ideas – from mythology and folklore, from his favourite authors (James Branch Cabell and Jonathan Carroll, for example – or in the case of G.K. Chesterton, actually inserting him as a character), from the rich back log of past DC Comics (far more Sandman characters are old DC characters revitalised than most people realise. Part of the fun of reading Sandman is trying to catch all his allusions and references). But when he steals, he always does it with respect for the original, and gives the old ideas new twists rather than simply recycling them. And another reason is that Gaiman is someone who knows and loves comics, and uses the conventions of the genre innovatively and well. But perhaps the real reason Gaiman is so successful is simply that his work is so damn good.

Who will enjoy Neil Gaiman’s work? Anyone who likes good fantasy, good comics, or simply good writing will enjoy some of his comics work, and his non-fiction is great fannish material. And who will enjoy him as a guest? Anybody who is in random* should be able to find at least one reason to find Neil Gaiman a great choice.

* Yes, it says random. Presumably should be fandom? Ed.

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Festival of the Imagination 1996 December 1995 progress report: The Dealers Room

Huh. Dealers’ tables are a thing that haven’t changed price much over time.
The text uses “Dealers”, no apostrophe, throughout.

The Dealers Room

This is also known as a trader, merchant or hucksters room, where people gather to buy and sell genre related merchandising, whether it be books, comics, prints, figurines, T-shirts or any of the plethora of possible goods. It is an ideal place to pick up a souvenir of the Festival, and additionally offers individuals and businesses to chance to gain some exposure and sell some of their wares.

Opening Times

Set up –                                Thur 10 am – 4 pm
Open to the membership – Fri    10 am – 4 pm
Sat   10 am – 4 pm
Sun  10 am – 4 pm
Mon  10 am – 4 pm

Rates for the dealers room

Members $40 (1 table) –          increases to $70 on 1-1-96
Non Members $120 (1 Table) increases to $150 on 1-1-96

(Tables are limited to one (1) per dealer/ trader at this stage)

There is a maximum of only 11 tables available. Due to the small number, allocations will be based on payment order.

Conditions

1) Tables are to be booked as soon as possible. You shall only be guaranteed a table when your fee has been received.
2) Limit of 1 table only
3) Only 2 persons per organization are allowed at the table.
4) Dealers are responsible for their own property and Festival organizers are not responsible for loss, items stolen or breakages.

Any other questions?

If you have any questions regarding the dealers room, please contact Brian/ Elizabeth on (09)xxxxxxx

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SwanCon 17 – November 1991 Progress Report – Lace & Steel – Part 1

According to the table of contents of this progress report the summary of the rules for Lace & Steel start on page 14 of this progress report, and continue until page 18. In order to keep this post reasonable I shall do pages 14-15 here (character creation and skills) and do combat in a later post.

Lace & Steel Rules Summary

Lace & Steel will be the featured system at PARSEC/SwanCon. It is an Australian Roleplaying Game with a Renaissance feel and its designer, Paul Kidd, will be a guest at the Convention. A tournament scenario will be run at the Con, suitable for people with at least modest roleplaying experience. If you are planning to play in the Lace & Steel game (“Blood Magic”) at PARSEC, the following rules summary should be of some interest. The game is not particularly well-known (what Australian RPGs are?) and a knowledge of the rules, however basic, will make life a lot easier for both you and the referees at the Con.

As “Blood Magic” is intended for moderately experienced role players, some of the terminology below won’t mean a lot to some of you. “Dreamers in the Net” will provide an opportunity for everyone to participate in a fast-paced imaginative and fascinating roleplaying scenario, so if you’re inexperienced, that’s the one for you.

There is an inset with the cover from Blood Magic at this point on the left half way down the page. The image is a sword and a rose. The Tagline is: In the tradition of Indiana Jones & Errol Flynn and Tim Powers’ “On Stranger Tides” comes … Blood Magic – The Seventeenth Century Will Never Be The Same.

Statistics

Lace & Steel has eight rolled stats and a number of factored stats, all of which will have been worked out on the pre-rolled character sheets you’ll be receiving at the start of the tournament. The rolled stats are Strength (STR), Endurance (END), Dexterity (DEX), Reason (RES), Intuition (INT), Drive (DRV), Charisma (CHR) and Magical Aptitude (MAG). Of these, STR, END, DEX, CHR and MAG should be familiar to most gamers. RES is the capacity for logic, memory and planning, INT is the innate perception and “sixth sense” of the character (gut feeling, if you like) and DRV is the measure of motivation and willpower. The factored stats are applicable mostly to combat, so they will be dealt with in the Combat section. Rolled stats range from 5-15 in normal humans.

Skills

Skills in the game range upwards from zero (0). All rolls are made on 2d6 – the lower the better. You must have a skill of at least level 0 in order to attempt a Skill Check (see below) in a specialist area (e.g. anyone can merely sit on a horse, but the skill of Riding would be required to take a horse over jumps). A Skill Level of 0 indicates a fair knowledge of the skill, 1 or 2 shows competence, 3 or 4 significant expertise, and higher levels indicate mastery of the skill. Skills can be opened or increased during play. Opening is at the referee’s discretion – there will be instructions in the scenario for the Con game. Successful skill use gains a chance for an experience increase roll; a Skill Roll with certain modifiers. A successful roll gains you skill points to increase that skill. The referee will explain how many skill points are needed to increase any particular skill.

Skill Checks

Skill checks are the method of resolving success or failure when performing an action. On ruling that an action requires a Skill Check, the referee will decide the stat that is most appropriate to that action, assess the feat’s Task Difficulty, and compare the two on the Comparison Chart. This will produce a number which must be rolled at or under 2d6 for the feat to succeed. This roll is modified by Dice Roll Modifiers (DRMs), which are decided upon by the referee. A Skill Level is a negative DRM (Negative DRMs work in the roller’s favour) and there are others which will be applied by the referee when the situation arises. Rolls failed by more than 2 points can have dire (or hilarious) consequences for the player.

Eg. Richard, a lesser noble, is trying to impress some court ladies with stories of his adventures. His Spin Yarn skill is 2, and his CHR is 13. The referee rules that this is an Average Task Difficulty Number of 10. The roll indicated on the chart (13 vs 10) is 9, minus 2 for his skill. Richard rolls a 6, manages to impress the ladies, and gets possible experience increase to his Spin Yarn skill.

If the Skill Check required is against another character, the roll required is determined by comparison of the relevant characteristics of the two characters.

Eg. Richard seems to have impressed the aging and rather plain Lady Angela a little too well, and she makes an attempt to get him home for the evening by use of her Flirtation skill of 1. Angela’s CHR of 7 vs Richards DRV of 12 gives a roll of 4, minus 1 for her skill. Angela rolls 9, trips over her words and leaves in tears, having failed to impress Richard one little bit.

Self Image Modifier

The SIM is a modifier applied to Skill Checks involving Charisma and Drive. SIMs are basically a measure of how a character feels about himself or herself. Negative SIMs are good, positive SIMs are harmful. SIMs will only last for a few days at most; you can’t stay happy forever. The referee will determine the gain and extent of SIMs.

Eg.. The referee determines that Richard’s storytelling earns him a -2 SIM for the rest of the night. This would apply only to rolls involving CHR and DRV made by him, and thus would not have applied in the second example.

Ties and Antipathies

These represent the relationships between the character and the outside world. A tie is a loyalty, friendship or duty to a person or idea. An antipathy is a feeling of disgust, aversion or hatred of the same. These will be determined before play and will develop as the game continues. Ties and antipathies are not trivial things – one has a tie with a country or a loved one, not with a favourite food or drink. The referee will determine when a roll for increase/decrease of a tie or antipathy is appropriate. These stats can reach any level, but much above 4 becomes unplayable.

Eg. Lady Julia de Burgh has been listening to Richard’s stories with interest. Suddenly, Richard notices her and is captivated by her beauty. The referee rules that a tie roll is in order. Richard’s roll of 2 is an extreme reaction, and he immediately develops a tie of 2d2, rolling 3. Julia rolls for a tie with Richard (his CHR vs her DRV, yielding 7) and her 5 indicates a tie also. She rolls 2d2, scoring 2. Isn’t love at first sight wonderful?

Combat rules will be covered in the second part.

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Festival of the Imagination 1996: July 1995 Newsletter

Page 14
WASFF REPORT

The West Australian Science Fiction Foundation (WASFF) is working well with the 1996 convention committee and our hope is that the convention will be both well presented and well attended. Most importantly we hope that all members of the Western Australian science fiction community will be able to participate.

This year the WASFF committee wishes to complete the formalization of the Mumfan Award for both past and future years. If anyone has any suggestions for the format of the certificate to be presented to all recipients we would greatly appreciate your input.

Guidelines for the Tin Ducks will be presented to the next AGM (details will be made available prior to the meeting so that people have a chance to read them in advance). I urge you all to read them and and have your say at the AGM when we hope to resolve this matter.

A list of people (past and present) associated with science fiction in Western Australia is currently being drawn up. We would appreciate help from anyone who can supply us with information including lists of attendees of previous conventions and details of members of other science fiction groups, both past and present. All information we receive will initially remain confidential. No-one will be paced on the final list without their consent. Guidelines as to the availability of final list and its use will be drawn up and made available so that discussion can be held at the next AGM.

We are also still looking for any contributions for “THE RED BOOK”.

Over the past couple of years WASFF has provided some support for literary competitions. If anyone has any ideas of other things that WASFF can lend support to which will benefit Western Australian science fiction please let us know. An approach to any member of the WASFF board can be made either formally of informally.

Your WASFF committee for this year is:
Mark Bivens
Luigi Cantoni
Robin Clarke
Ann Griffiths
Peter Kelly
Richard Scriven
Mark Suddaby

The WASFF email address is wasff@perth.DIALix.oz.au.
The WASFF postal address [no longer existent PO Box] W.A. 6948.

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Swancon 17 Souvenir Book: Anime Matsuri

Here is page 38 and part of 39 of the Festival of the Imagination 1992 souvenir book.

Swancon 17 Souvenir Book: Anime Matsuri

All of page 38 and the top and bottom of page 39 contain cute frames from Totoro. The text on page 39 is as follows…

Introduction
Anime Matsuri is a programme of Japanese animation developed by Thomas Edge of JAFWA (Japanese Animation Fans of WA) to present Festival-goers with a cross-section of the brightest and most innovative animation being produced in Japan today.

You may ask, why animation, and why Japanese animation?

We believe that the image of the fantastic is a critical part of science fiction and fantasy, and that the manner in which artists present that image is of interest to the science fiction and fantasy audience.

Animation has been described as the only true artform of the Twentieth Century, based as it is upon the technical developments of the time. From the first, animators sought to present audiences with images which could not otherwise be created for the screen; images of the fantastic.

In the period between 1905 and 1915 New York newspaper cartoonist Winsor McCay created a partner for his part-time vaudeville act, a dinosaur named Gertie, one of the earliest fantasy characters to be created by an animator. Between 1915 and 1930 other New York cartoonists, inspired by McCay’s ground-breaking work, entered the animation field. These men laid the ground rules, and made most of the early technical breakthroughs that shaped animation as we know it. This period saw the first appearances of Betty Boop, Bosko the Clown, Popeye the Sailor, Felix the Cat, Superman and many other “fantasy” figures.

Perhaps though, it was with Walt Disney’s ambitious series of Silly Symphony short subjects that animation was first employed to bring fantasies to life. Singing cows, talking ducks and smiling trees filled the screen, and were plausible. When they were followed by Disney’s Snow White and the Seven Dwarfs, Max Fleisher’s Hoppity Goes To Town, and of course the Golden Years of Disney – Pinocchio, Dumbo, Fantasia and Bambi – it became clear that our image of the fantastic would always be strongly influenced by animation.

That’s why animation.

But why Japanese animation? There are many reasons. In the last fifteen years Japanese animators have made the most innovative and interesting animated films, moving away from the perception, fostered by US television series, that animation is intended for children. Films like Robot Carnival, Akira, Appleseed, Nausicaa, Totoro and Laputa; all exemplify this trend.

This programme of animated feature films, short subjects and television episodes also gives some insight into the Weltanschauung of a culture that we deal with more and more.

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Festival of the Imagination 1996 – April 1995* Newsletter – Awards

In theory, the last of our posts from this particular newsletter. Previous posts can be found by clicking the relevant tags, and having a bit of a hunt.

(*)The actual newsletter says 1996 but this is a “known” typo and therefore the title here has been changed to protect the overworked/underpaid/sleep deprived author.


Awards

An important and traditional part of an event such as the Festival of the Imagination is the presentation of awards for recognition of excellence and achievement in various fields. At the 1996 Festival of the Imagination, two sets of awards will be presented.

The Australian Science Fiction “Ditmar” Awards

The idea of a national literary science fiction award was developed during 1968 when a committee of fans and authors, including Ditmar Jensen and Lee Harding, struggled to decide on such matters as the form of the trophy, the rules, and the name. Despairing of ever reaching agreement it was proposed, half in desperation and half in jest, to use Jensen’s name for the award. The rest is history. The awards were first presented in 1969, and have been pressed at each national science fiction convention since then, which will make the 1996 awards the twenty-seventh time the awards have been presented. They recognise fannish and professional endeavours and, like the Hugo Awards, are presented for work published in the year prior to the convention at which they are presented, and are voted upon by the members of that convention.

The Australasian Science Fiction Media Awards

The ASFMAs were originally conceived as a way of giving a form of acknowledgement to those in the media side of fandom, in much the same way that the Ditmar pays tribute to its literary aspects. They were first awarded in 1984 at Medtrek, and are now awarded at the annual National Australasian Science Fiction Media Convention. 1996 will be the first time the ASFMAs (which, at one point in their brief but venerable history were known simply as ‘Robbies’) have been awarded in Western Australia. The awards themselves are made out of glass by Peter Lupinski, and are fashioned to look impressive sitting on a mantelpiece, as well as to be a fairly deadly weapon in close combat.

The Ditmar Awards will be presented in the following categories: The categories for the Australasian Science Fiction Media Awards are:
  • Best Long Fiction
  • Best Short Fiction
  • Best Publication (Periodical)
  • Best Artwork
  • Best Non-professional Writer
  • Bets Non-professional Artist.

In addition, the William Atheling Jnr Award for Criticism will be awarded.

  • Best Fan Writer
  • Best Fan Artist
  • Best Newsletter
  • Best Fan Fiction Zine
  • Best Amateur Audiovisual Production

Eligible entries for the awards will have been published or produced between January 1st and December 31st in 1995, and be the work of Australian (or, in the case of the ASFMAs, Australasian) residents during that period. More details on the criteria for the award categories will be printed in subsequent Newsletters. For more information, or to nominate works for either set of awards, write to the convention address, marking clearly which award you are nominating for. Nominations should be received no later than January 31st 1996.

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SwanCon 17 November Report – Short Story Competition

Page 12 of the SwanCon 17 November Progress report details the ‘SwanCon 17 – the Seventeenth Annual Western Australian Science Fiction and Fantasy Festival Short story Competition’. That text alone takes the top third of page 12, and no attempt has been made to replicate any of the fancy font work that should never have happened. Our copy of this document was punched for filing. Attempts have been made to guess at what the hole punch removed at the end of a couple of lines.

Short Story Competition

Junior Division
(ages up to 16)
First Prize $60
Second prize $30
Open Division
(above 16 years of age)
First prize $100
Second prize $50

This short story competition is proudly sponsored by A Touch of Strange Bookshop, Shop xx Subiaco Village 531 Hay Stree Subiaco 6008 – specialists in the latest Science Fiction and Fantasy books and art from Australia and Overseas and suppliers of genre fiction to schools and libraries for all age groups.

All entries must be original genre fiction by Western Australian residents or Festival attendees. The manuscript should be no longer than 8000 words, provided on A4 paper, be double spaced and in [a] legible hand or typed. The author’s name, the title, and page number must appear on each page. If the manuscript is to be returned, a stamped, self-addressed envelope must be provided. Please provide a covering letter stating your name, address, phone number and age for junior division. Entrants for the Junior division may be considered for the open division on request. Winners will be announced at SwanCon 17 and also notified by mail. Prizes will be made up of an equal value of cash and book vouchers from A Touch of Strange Bookshop. Entries should be postmarked by the 31st of December 1991 and sent to: SwanCon 17 Short Story Competition, PO Box xxx, North Perth 6006.


At the bottom left of the page is a box containing the following text:

This A4 poster was circulated to hundreds of WA Libraries and schools via their internal mailing systems. It is intended for “General” audiences (thus the deviation from the standard SwanCon style and descriptions), and seems to have been having the desired effect. We’ve received far more entries for the competition than we’ve seen in previous years, although most are for the Junior Division, so there’s plenty of room left for Open Division entries.

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Confusion Progress Report 1A

page three and four of Con Fusion progress report 1A. Header features Con Fusion logo, also used as a section separator

PROGRESS REPORT 1A

What IS CON FUSION?

ConFusion is Perth’s first officially acknowledged, SF Media convention. It’s also the 19th Annual SF/Fantasy convention for Perth – but more about that later ….

Who ARE CONFUSION?

Our aim is to involve as many individuals, clubs, groups and states as possible. If your club/group/state is not represented, then contact us with the name of a suitable representative.

The core committee are as follows:

Sue Ann Barber      Co-ordinator/Network 23 Rep
Andrew Purcell       Secretary
Heather Magee       Treasurer
Scott Barkla             Publications/Promotions/The West Lodge Rep
Eugene Roseveare   Fundraising/Humbug Enterprise Rep
Craig Greenback      Gaming/Security/Gamers Guild Rep
Mark Bivens &
Richard Scriven        Hotel Liaison
William Duffy           GoH Liaison
Robin Clarke            Main Programming
Rod Coate                 Video Programming
Brian &
Elizabth Trump        Art Show

Who ELSE ARE CON FUSION?

General Committee Members / Club Reps / Interstate Reps

Tom Edge (JAFWA), Amy Pronovost (MARS/SAGA), Peter Kelly (CIA), Brad Smart, Lord Vadar (SICCO Rep), Simon Nulsmurf Oxwell (UNISFA), Sean-Paul Smith (GALLIFREY), David Gunn (TWONKS), Jason Armstrong, Matthew Joseph, Carl Thomas, Peter Cooper, David Cake, Robin Pen, Geoff Tilley, Kelly Lannan (SA Rep), Paul Ewins (VIC Rep).

WHEN IS CON FUSION?

ConFusion will be held over the weekend of Juy 15-17, 1994

WHERE IS CON FUSION?

Our lovely and well chosen venue is that known as the PERTH INTERNATIONAL HOTEL. Located in central Perth, this veue is close to public transport, food outlets and everything else you could possibly want to be near. Basic room rates are $95 and suites will be available for those with large groups. For our own sanity, and that of other hotel guests, we’re aiming to book out an entire floor. So book NOW!

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Swancon 16 – Souvenir Book – Cindy Clarkson

This is on the page after the Barbara Hambly Bio. There is a fair amount of background imagery obscuring the text, but I will try to transcribe the text and typos to the best of my ability.

Cindy Clarkson

There are so many ways to describe Cindy that it’s difficult to know where to start. Dedicated, frenetic, frustrating, cute – all these could be used to describe one of the most popular members of Perth fandom.

Her involvement in Cons goes back to at least Swancon 11. She has been found in a variety of positions (sorry: has occupied a variety of posts) on various Con committees, and is always willing to work. Just because she’s fan GoH for this Con doesn’t mean she won’t be found helping out wherever she’s needed.

Cindy’s interests in science fiction are quite varied. She claims an early interest in Lost in Space, Land of the Giants and Doctor Who, but not Star Trek! Her cinematic background has strengthened her interest in the more technical aspects of “media” Science Fiction. If you want to know about her literary tastes, ask her yourself!

Whenever possible, Cindy works as a film editor. You never know; in a few years time she might be directing movies, not just editing them. Imagine: Superman IX – directed by Cindy Clarkson. Gee, she might even get to be rich and famous!

Cindy would have to be one of the more friendly and approachable fans in the Perth community, so don’t miss an opportunity to get to know her. Just remember: she is an old, married lady and you should treat her accordingly.

One word of advice/warning, if you happen to annoy her, make sure there are no containers of liquid at hand. You might end up wearing the contents!
John McDouall

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Swancon 16 – Souvenir book – Barbara Hambly

A two page bio and bibliography of the Swancon 16 GoH. As per our semi-policy we’ll put things in CAPS as bold.

Barbara Hambly

Barbara Hambly was born in the Naval Hospital of San Diego, California, on the 28th of August, 1951. From her earliest years she was drawn to fantasy and science fiction, finding it far more interesting than reality in the modest California town where she grew up; reading it or watching it on TV or at the movies, and telling it as stories to her brother and sister, and, alone among her contemporaries, always knew what she wanted to do when she grew up. Unfortunately, every one told her that becoming a writer a) was difficult to break in to and b) didn’t pay.

She attended college at the University of California in Riverside, California, and spent one year at the University of Bordeaux in France. After obtaining a Master’s Degree in medieval history, she held a variety of jobs: model, clerk, high school teacher, karate instructor (she holds a black belt in Shotokan Karate), technical writer, mostly in quest of a job that would leave her with enough time to write. During those years she continued to write, and in 1982 was finally published by Ballantine/Del Rey.

She discovered that the people who had been telling her not to be a writer all those years were wrong.

She is of the Sedentary or Dirty-Bathrobe School of Writers, and, to the surprise of many writers of her acquaintance, actually enjoys writing. Her works are mostly sword-and-sorcery fantasy, though she has also written a historical whodunnit and novels and novelizations from television shows, notably Beauty and the Beast and Star Trek. Her latest book (Song of Orpheus) and her next one (Star Trek 54: Ghost Walker), are both tie-ins to those series. She has also made an excursion into vampire-literature with Those Who Hunt the Night, and at one time she wrote scripts for animated cartoon shows. Her next real fantasy after the Beast and Trek novels, The Rainbow Abyss, is due out in August.

Her interests (besides writing) include dancing, painting, historical and fantasy costuming, and carpentry. She resides in Los Angeles with the two cutest Pekineses in the world.

Bibliography

Fantasy:

Darwath Trilogy: The Time of the Dark (1982)
The Walls of Air (1983)
The Armies of Daylight (1984)
Sun Wolf and Starhawk: The Ladies of Mandrigyn (1985)
The Witches of Wenshar (1987)
The Dark Hand of Magic (1990)
The Darkmage: The Silent Tower (1986)
The Silicon Mage (1988)
Dragonsbane (1986)
Those Who Hunt The Night (1989) (Immortal Blood in UK)

Television Novels and Novelizations:

Ishmael (1985) (Original Star Trek novel)
Beauty and the Beast (1989) (Novelization of pilot episode)

Mystery:

Search the Seven Hills (1987) (Published in hardcover in 1983 under the title The Quirinal Hill Affair)

All these books are currently in print from Ballantine/Del Rey with the exception of Ishmael, which is put out by Pocket Books (and is now out of print), and Beauty and the Beast, which is published by Avon. A second novelization of Beauty and the Beast episodes is due out sometime in late 1990.

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