Trudi Canavan's Blog, page 27

Scouting Out Aussiecon's Location

Yesterday Paul and I headed into Melbourne to see a couple of exhibitions, and while we were there we checked out the venue for Aussiecon 4, and its surrounds. I've spent this morning whipping up this blog post to let you know what we learned. I even drew a map!

The front of the Melbourne Convention Centre lies at the far end of the looooong rectangular Melbourne Exhibition Centre. Just look for the boat:

The boat is actually the Polly Woodside, a tall ship that has been the subject of many a school excursion for locals. Currently it and the dock is under refurbishment so you can't get onto it, but it's a good landmark to orient yourself with. If you can see the ship, you know where the Convention Centre is.

Another thing to look for is the colour orange.

The Convention Centre is all shiny and new. Here it is from the inside:

(Okay, I only included that photo because I was kinda chuffed with how it turned out.) Here's the interior looking kinda northish:

If you walk along the outside of the building from the ship toward the river, and round the corner of the building, you'll see this:

That's another entrance to the centre, as well as an eatery that was advertising "tapas and drink for $10″ when we were there. Note the even better orientating landmark: the Hilton (big building in the background). It's literally next door to the centre. I was standing at the start of the pedestrian bridge when I took this shot.

On the other side of the Hilton is DFO, a retail shopping centre. There is a small food court in it consisting of four shops (though there are two other cafes located in other parts of the centre). These may be good if you want a quick bite, but if you want proper restaurants or more variety in fast food, you need to head in the other direction. Here's a quick sketch map I did, adding a red wash for main areas of interest:

All along the river, heading northeast, there is a promenade with restaurants on one side. Food courts can be found within the buildings with heaps of fast food choices. There are also restaurants and a food court within Crown Casino, though if you have to get back to the con quickly it might be better to stick to the promenade. The casino complex seems to have been designed to keep you inside, to the point where it's easy to get lost and can be hard to find your way out again.

You could also head up to the CBD (the city centre) if you don't mind a longer walk and have the time. There are some very popular restaurant areas like China Town and Lygon Street (the latter which you'd need a car to get to).

Other attractions along the river include the Melbourne Aquarium, Eureka Skydeck, and Federation Square. Walking along the river is an attraction in itself, whether you like to people watch or enjoy parks (gardens).

Other details we picked up on our scouting trip were these:

Parking for those staying at the Hilton in the car park opposite the hotel costs $20 for one entry and exit per day, and there's a pricier fee if you want to enter and exit several times in a day. It's not the only parking option, though.

Melbourne currently has racks of bicycles that you can use for free, and they could be a great way to scoot along the promenade if you were in a hurry. But we have strict laws requiring the wearing of bike helmets and helmets aren't provided – you have to bring your own. If you borrow a bike and don't wear a helmet, you risk a fine.

There's one of those expensive little shops selling breakfast cereal and designer water on a south corner of the Convention Centre, and one cafe within the centre itself, plus plenty of vending machines in the Exhibition Centre. And there's that place with the tapas.

Disclaimer: Please do not use the map above to find your way around. It's only meant to give a general idea of what's near the convention centre. There are more detailed maps available via the Aussiecon 4 website, and there's bound to be maps available from hotels and such.

My Aussiecon 4 Schedule

Aussiecon 4 is less than two weeks away! During the few breaks I've taken while getting The Rogue polished up ready for beta readers, I've been busy getting ready for the con. I've made a masquerade mask for the Nightmare Ball, helped make Dudcon con badges, gathered some books to donate to the freebie table, and started arranging lunches and such with friends and publishers. I've also managed to pick up a cold and lose my voice before the con, which is much better than during the con. Hopefully I'll be all recovered by the time it all starts.

I've just received the list of panels and events that I'll be participating in. Now, this is a big event and organising the program is a huge challenge, so there's always the chance of small last minute changes. Be sure to double check times at the con. Assuming everything stays the same, here's what I'll be doing:

Panel:

Thursday 1600

Magic mean streets: The city as a fantasy location

While some fantasy novels explore vast terrains of forests, mountains and oceans, others choose to remain within the confines of the city. What is the appeal of the fantasy city, how does it contribute to the tone and plot of the fantasy novel, and how much detail do writers need to develop to make their fantasy cities work? A look at the best – and possibly worst – of fantasy city design.

Ellen Kushner, Trudi Canavan, Carol Ryles, Jennifer Fallon

Kaffeeklatsch:

Fri 1500

What is a Kaffeklatsch? Well, the word means coffee+chat, and that's pretty much what it's all about. Want to have a cuppa and a chat with me? Then sign up! Numbers are limited to keep it cosy and personal. To sign up, go to the Aussiecon4 website, look under Committee, and under Program Divisiton there's an email link to a volunteer who'll make the arrangements for you.

Panel:

Saturday 1600

Thinking in trilogies:

The trilogy seems synonymous with the fantasy story. Why is fantasy so closely tied in with the idea of the three-book story? Is it simply a marketing requirement, or are their structural advantages to the form that are not provided by the single novel? A look at the arguments for and against the trilogy, and whether it's a tradition that's here for good or due to be retired.

Glenda Larke, Trudi Canavan, Fiona McIntosh, Russell Kirkpatrick, Kim Falconer

Signing:

Sun 1200

Your chance to get my autograph. I will happily sign books outside of the signing session, so long as I'm not on my way to something else, but you're more likely to get a neat autograph if I'm sitting at a table at a signing session. You don't have to have bought the books at the con, though if you want to there'll be bookshops in the dealer's room that will happily sell you copies. You don't have to limit the number of books you take. If you bring along a full set of my books, I'll sign them. But if you have multiple sets and there's a queue, I may ask you to wait until the end of the session. If it's quiet, come up and chat. I love talking to readers of my books. And other people's books.

Panel:

Monday 1300

Getting edgy: The disreputable protagonist in modern fantasy

While fantasy used to centre around noble and good-hearted heroes, a growing sub-genre of recent years has celebrated a less savoury breed of protagonist. Knights and wizards-in-training are giving way to thieves, assassins, mercenaries and cutthroats. What is the appeal of this form of anti-hero, and what are its origins? How does changing the protagonist alter the kind of story you are able to tell?

Ellen Kushner, Trudi Canavan, Fiona McIntosh, Kim Falconer

The Ditmar Award Nominations

What are the Ditmars? They're like the Hugos, but for Aussies. They're presented at the Australian National Science Fiction Convention, but whenever Australia hosts Worldcon, as we are doing this year (Aussiecon4), we don't have a Natcon. Instead we have a Dudcon – a mini convention held as part of Worldcon.

All that was a rather complicated, link-heavy way of explaining what this list is:

Best Novel

* Leviathan, Scott Westerfeld (Penguin)

* Liar, Justine Larbalestier (Bloomsbury)

* World Shaker, Richard Harland (Allen & Unwin)

* Slights, Kaaron Warren (Angry Robot Books)

* Life Through Cellophane, Gillian Polack (Eneit Press)

Best Novella or Novelette

* "Siren Beat", Tansy Rayner Roberts (Twelfth Planet Press)

* "Black Water", David Conyers (Jupiter Magazine)

* "After the World: Gravesend", Jason Fischer (Black House Comics)

* "Horn", Peter M. Ball (Twelfth Planet Press)

* "Wives", Paul Haines (X6/Couer de Lion)

Best Short Story

* "The Piece of Ice in Ms Windermere's Heart", Angela Slatter (New Ceres

Nights, Twelfth Planet Press)

* "Six Suicides", Deborah Biancotti (A Book of Endings, Twelfth Planet

Press)

* "Black Peter", Marty Young (Festive Fear, Tasmaniac Publications)

* "Seventeen", Cat Sparks (Masques, CSFG)

* "Tontine Mary", Kaaron Warren (New Ceres Nights, Twelfth Planet Press)

* "Prosperine When it Sizzles", Tansy Rayner Roberts (New Ceres Nights,

Twelfth Planet Press)

Best Collected Work

* The New Space Opera 2, edited by Jonathan Strahan and Gardner Dozois

(HarperCollins)

* New Ceres Nights, edited by Alisa Krasnostein and Tehani Wessely

(Twelfth Planet Press)

* Slice Of Life, Paul Haines, edited by Geoffrey Maloney (The Mayne

Press)

* A Book of Endings, edited by Deborah Biancotti, Alisa Krasnostein and

Ben Payne (Twelfth Planet Press)

* Eclipse Three, edited by Jonathan Strahan (Night Shade Books)

Best Artwork

* Cover art, New Ceres Nights (Twelfth Planet Press), Dion Hamill

* Cover art, The Whale's Tale (Peggy Bright Books), Eleanor Clarke

* Cover art and illustrations, Shards: Short Sharp Tales (Brimstone

Press), Andrew J. McKiernan

* Cover art, Andromeda Spaceways Inflight Magazine #42, Lewis Morley

* Cover art, "Horn" (Twelfth Planet Press), Dion Hamill

* Cover art, Masques (CSFG), Mik Bennett

Best Fan Writer

* Tansy Rayner Roberts, for body of work

* Chuck McKenzie, for work in Horrorscope

* Robert Hood, for Undead Backbrain (roberthood.net/blog)

* Tehani Wessely, for body of work

* Bruce Gillespie, for work in Steam Engine Time

Best Fan Artist

* Dave Schembri, for work in Midnight Echo

* Kathleen Jennings, for body of work

* Dick Jenssen, for body of work

Best Fan Publication in Any Medium

* Interstellar Ramjet Scoop , edited by Bill Wright

* A Writer Goes on a Journey (awritergoesonajourney.com), edited by

Nyssa Pascoe et al

* ASif! (asif.dreamhosters.com), edited by Alisa Krasnostein, Gene

Melzack et al

* Australian Science Fiction Bullsheet (bullsheet.sf.org.au), edited by

Edwina Harvey and Ted Scribner

* Steam Engine Time , edited by Bruce Gillespie and Janine Stinson

Best Achievement

* Alisa Krasnostein, Liz Grzyb, Tehani Wessely, Cat Sparks and Kate

Williams, for the New Ceres Nights booklaunch

* H. Gibbens, for the Gamers' Quest CGI-animated book trailer

* Ruth Jenkins and Cathy Jenkins-Rutherford, for the children's program

at Conjecture

* Amanda Rainey, for the cover design of Siren Beat/Roadkill (Twelfth

Planet Press)

* Gillian Polack et al, for the Southern Gothic banquet at Conflux

Best New Talent

* Pete Kempshall

* Kathleen Jennings

* Thoraiya Dyer

* Jason Fischer

* Simon Petrie

* Christopher Green

* Peter M. Ball

William Atheling Jr Award for Criticism or Review

* Chuck McKenzie, for "The Dead Walk! … Into a Bookstore Near You" (Eye

of Fire #1, Brimstone Press)

* Ian Mond, for reviews on his blog (mondyboy.livejournal.com)

* Grant Watson, for reviews and articles for Eiga: Asian Cinema

(www.eigaasiancinema.com)

* Helen Merrick, for The Secret Feminist Cabal: a cultural history of

science fiction feminisms (Aqueduct Press)

Congratulations to all the nominees! If you're eligible to vote, you can download the ballot form here, and there will soon be an online version here.

AussieCon4 – Worldcon in My Home Town!

I've been meaning to post about this for a while now. For those who don't know, there's a big convention held each year called Worldcon. This year it's located in Melbourne, Australia. That's my home town! It will be held over the first weekend of September, for five days. Check out the AussieCon4 site for details.

The last time Worldcon was held in Australia was in 1999. I'd had just one short story published and was still looking for a publisher for the Black Magician Trilogy. I had such a fabulous time there, meeting people I admired, talking to other writers and readers of sf, picking up tips at a writing workshop and listening to panels and talks by famous and fascinating people, collecting names of agents, publishers and other important industry bods, getting books signed and spending up big in the dealer's room on things I couldn't normally find in local shops.

This time around I'm hoping to be on the other side of the panelist and signing tables, taking the opportunity to talk to readers of my books, and supporting my author friends, both the old hands and those new to the scene – on top of the above list of wonderfulness. And since I won't have to take a train home… more partying!

Spanish Editions

It's always exciting to receive foreign editions of my books, especially for new languages. It's great to reach new readers and always fun to see the cover art. Yesterday these Spanish editions arrived. I'm not sure why, but The Magicians' Guild wasn't included in the parcel, just The Novice and The High Lord.

Linky Bits

Check out this 2010 Survey of Book Buying Behavior, especially the section on electronic books and piracy at the end.

And this article about electronic books and libraries in the UK is also very interesting.

Which Brings Me To…

My last post could have been a monster, if I'd tried to tackle all the issues relating to eBooks, piracy and the future of books and authors. I was responding to two things, Robert's post and the two old blokes I met at a party. Robert's post was in response to the idea that 'one of the core conceits behind the notion of "hot new models," namely that authors will find some way other than royalties from books actually sold to make their livings, and that these opportunities will abound' (an elephant stamp to everyone who read the post!) Now, I don't think that authors will have to say goodbye to royalties and start charging $30 a pop for autographs (and you can't sign an eBook), as is the accepted practise in other industries. But I saw in Robert's post many points that agreed with my own fear that the quality of books is going to head downward, and I brought up the Two Old Pirates (arrrrh!) to lead into the same idea about book quality.

I was curious to see what reaction I'd get from commenters. So now here are a few answers and thoughts in response to them.

Are Books Too Expensive in Australia?

Maybe. But I am not surprised that they are more expensive. Firstly, we're a small market off the beaten track, and transporting smaller amounts of anything usually costs more. Secondly, the rising costs of paper and fuel have probably made books more costly (and sometimes the exchange rate makes Aussie books look a lot more expensive than os books than they really are). Thirdly, I'll go back to the quality issue. When I first received the US edition of The Magicians' Guild I was surprised at how much smaller it was and how awful the paper was. I set it on display and within two weeks the paper had turned a tea-brown colour. The UK paperbacks are much thicker, the paper is nice and they only go a teensy bit discoloured after some years. The Australian edition is close to the UK one, though they don't hold up quite as well.

Do you want your books to turn brown? Do you care if they fall apart? Maybe you don't, but if you do, you might not get much choice if book prices are forced downward. You could try ordering online – but how will you be able to tell how good the paper and binding is until it arrives?

Libraries, Second-Hand Books & Lending Books to Friends – Is Piracy Any Different?

Libraries, the second-hand market and sharing books are things have been in place for years – centuries, even – and authors and publishing has survived despite them. Ebook piracy is new, and despite all the 'we/I don't think it'll have any effect' claims I hear from readers and optimists all the time, nobody really knows what the effect will be. We're all guessing.

In Australia we have a system called ELR and PLR that compensate authors a little for having their books in libraries. I don't know if this exists elsewhere. I have never resented the library system, second-hand bookshops or people borrowing books from friends and family. In fact, I'm all for it. You see, like many authors, there was a time when I earned very little money. Even when I was writing my fifth or sixth book I was earning less than the minimum wage. Borrowing or buying second-hand was the only way I could support my reading hobby, though I always supported authors I knew or really liked by buying new books – from the independent booksellers who supported me.

The low quality of the US books bothers me because they won't last as long, and that's wasteful. Personally, I'd rather books were more expensive and shared than cheaper and thrown away, even if that meant I'd earn less in the long run.

The main difference between a library, second-hand or borrowed-from-a-friend book and a pirated book that the former was bought at least once. And piracy just doesn't have the same warm and fuzzy, community spirit thing going as sharing does. One involves taking, the other involves giving.

Bookshops:

I'm very intrigued by the response of the booksellers. Surely eBooks are a threat to your industry, since you are the 'middlemen' they will eliminate? Still, I don't think paper books will ever be completely replaced by electronic – well, until the day paper's scarcity makes it too expensive, and I reckon a paper substitute will be found before that happens.

How much is a book worth?

This is the thorny issue, isn't it? People assume that if you get rid of printing and transportation costs, books should be a lot cheaper. But most people don't know what's involved in making a book, let alone how much each stage costs. That's a subject for another post – probably by someone who knows more about the numbers than I do. However, printing for most books is done by low paid workers, and with electronic books you replace them with higher paid tech workers, new technology and the costs of trying to thwart piracy.

And then there's another added cost. In every product you buy in a shop, a certain amount is added to the price to compensate for theft. Even with paper books, theft is amazingly prevalent. The same will have to apply with electronic books. If piracy is easier with eBooks, then it'll happen more often and the price has to go up even more.

To Sum Up

As I said in the last post, I'm neither an optimist or a pessimist. I don't believe doomsday predictions that say publishing and books will die. I don't think there'll be no effect at all. I think the market will decide. If it costs more to produce a book than it can be sold for, then either the price will rise or the production costs will be cut. These days customers have the expectation that they have a right to demand ever lower prices, without ever considering that this might come back to bite them.

Ultimately, you get what you pay for.