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Why inclusive heroism is not just suggested, but essential

Sirens Newsletter—Volume 11, Issue 5: May 2019

This month:

 

What does heroism mean to Roshani Chokshi?

“To me, heroism is the act of celebrating the individual. There’s not a one-size-fits-all when it comes to the Chosen One.” – Roshani Chokshi

Continuing our series of getting to know this year’s guests of honor, this month we’re getting to know our first ever Sirens Studio guest, Roshani Chokshi, known for the Star-Touched series, the Pandava series, and The Gilded Wolves.

In our interview, Roshani extolls most eloquently the way a hero’s weakness is possibly more important than her strength. And while storytelling may have created important bridges in her own identity, it took some overcoming to insert herself into her own narratives. Jae Young Kim, from the Sirens review squad, praises Roshani’s tales in her review of Aru Shah and the End of Time, and our community rallies to share their favorite sarcastic animal sidekick in fantasy in our #SirensIcebreaker.

If you finish Roshani’s books and need to get cozy in some more of her work, visit this list we put together here, or check out some of her book recommendations here. We also advise poking around on her enticing website, roshanichokshi.com, or be floored by the most glamorous of fantasy author Instagrams!

 

Sirens Studio Faculty Spotlight

If you haven’t yet signed up for the Sirens Studio, well, why not? Faculty this year include:

  • For reading workshops: teacher and author Nia Davenport, Soho Press Associate Publisher and brand-new debut author Juliet Grames, Dr. Jen Michaels, and Sirens Guest of Honor Rebecca Roanhorse

  • For writing workshops: Sirens Guest of Honor Mishell Baker and author and illustrator Nilah Magruder

  • For career development workshops: agent Sara Megibow and media industry executive vice president (and Sirens co-founder) Amy Tenbrink

Buy your tickets here!

This month, we interviewed fabulous faculty member, Nilah Magruder, who will lead the writing development workshop “The Visual Narrative: Developing Illustrated Projects and How to Write Like an Artist” this fall. Nilah discusses finding inspiration sources for her artistic styles, teaching writers to bridge narrative and visual story, and who she still needs to send copies of her books to. [Note from Erynn: Nilah’s How to Find a Fox is the only book on the Sirens reading list my toddler has finished. He recommends.]

 

2019 Books and Breakfast Selections

Each year, Sirens showcases the breadth and complexity of our annual theme through our Books and Breakfast program. We select a number of popular, controversial, and just plain brilliant books that address aspects of our theme, and then attendees bring their breakfast and join a table to discuss one of those books—another chance to deconstruct, interrogate, and celebrate the work that women and nonbinary authors are doing in fantasy literature!

For 2019, we’ve selected eight 2019 Books and Breakfast titles that we hope will expand your definition of who might be a hero or what acts you consider heroic. Toward that end, we’re highlighting four areas in this year’s selections: religion, race, gender/sexuality, and body—and please note that some titles sit on multiple axes, not just the one they’re listed under!

2019 BOOKS AND BREAKFAST SELECTIONS

Religion

The Bird King by G. Willow Wilson
The Sisters of the Winter Wood by Rena Rossner

Race

Dread Nation by Justina Ireland
Future Home of the Living God by Louise Erdrich

Gender/Sexuality

Dreadnought by April Daniels
The Tiger’s Daughter by K. Arsenault Rivera

Body

Faith Volume 1: Hollywood and Vine by Jody Houser, Francis Portela, and Marguerite Sauvage
Gullstruck Island by Frances Hardinge

Click here for more on our Books and Breakfast program and this year’s selections, including a detailed spotlight on The Bird King and The Sisters of the Winter Wood!

 

Programming proposal submissions are officially closed…

…and the vetting board is hard at work reading all the amazing submissions. Fist bumps of gratitude to everyone who sent in proposals! Decisions will be made and relayed to you by email by June 12th. If you have any questions in the meantime, send them to (programming at sirensconference.org).

 

Sirens Community Round-up

For her book club this month, Amy Tenbrink reviewed Claire Legrand’s Furyborn, with exceptional praise on the satisfaction from a “competent” book, on the blog and Goodreads.

From our Sirens Review Squad, Lily Weitzman put together this list of seven short stories to refresh readers in need of variety, and Jo O’Brien’s review of Kiersten White’s The Dark Descent of Elizabeth Frankenstein, a companion to Mary Shelley’s classic, envisions the struggle to break free from toxicity and reclaim personal power.

Scroll through the official Sirens Twitter feed to admire all the geeky treats from the May the Fourth Sirens Meet-up in Denver! Other Sirens satellite parties joined up in New York and Seattle this month. For those who will be in Boston on June 6th or D.C. on June 22nd, click here to get the scoop on those meet-ups.

 

Start your summer with these 66 new books this month

By clicking on our collage of May’s new fantasy books!

Erynn’s Pick:

The Devil's Guide to Managing Difficult People

“I met the devil at a Motel 6, poolside.”

Cheeky author and Sirens attendee Robyn Bennis has delightfully captured the misanthropic esprit de 2019 with The Devil’s Guide to Managing Difficult People. Jordan is stuck in a bleakly entertaining deal with the devil that is highly relatable. If it’s at all like her previous novel The Guns Above, I expect great characters and battles on top of the humor.

 

Faye’s Pick:

The Dark Fantastic

Dr. Suzanne Scott mentioned it in her book round-up last month, and I’ll definitely be checking out Ebony Elizabeth Thomas’s The Dark Fantastic, a detailed analysis of the diversity—and lack thereof—in children’s books, television, and film. Thomas’s scholarly work traces the narratives of four black female characters in four popular fandoms: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from the Harry Potter series.

 

This newsletter is brought to you by:

Erynn Moss + Faye Bi


Questions? Concerns? Please email general queries to (help at sirensconference.org) and questions about programming to (programming at sirensconference.org).

 

Five Books that Roshani Chokshi Loves

For our 2019 theme of heroes, Sirens Studio Guest of Honor Roshani Choskhi shares the book list she curated for the heroes theme. If you enjoy her work, we encourage you to check out these other reads, spanning middle grade, young adult, and adult. Take it away, Roshani!

 

The Serpent's Secret
1. The Serpent’s Secret by Sayantani DasGupta
The City in the Middle of the Night
2. The City in the Middle of the Night by Charlie Jane Anders
The City of Brass
3. The City of Brass by S.A. Chakraborty
Snow White Learns Witchcraft
4. Snow White Learns Witchcraft by Theodora Goss
The Serpent's Secret
5. Water Trilogy by Kara Dalkey

Roshani Chokshi is the New York Times bestselling author of the Star-Touched series and Aru Shah and The End of Time, Book #1 in the Pandava series. She grew up in Georgia, where she acquired a Southern accent but does not use it unless under duress. She has a luck dragon that looks suspiciously like a Great Pyrenees dog. Her work has appeared in Strange Horizons, Uncanny Magazine, Shimmer, and Book Smugglers. She is a 2016 finalist for the Andre Norton Award, and a 2016 Locus finalist for Best First Novel. Her short story, The Star Maiden, was longlisted for the British Fantasy Science Award.

For more information about Roshani, please visit her website or her Twitter.

 

Roshani Chokshi’s Aru Shah and the End of Time subverts patriarchy from the very beginning

The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books (often fantasy literature by women authors) they’ve read and enjoyed. If you’re interested in sending us a review to run on the blog, please email us! Today, in honor of Roshani’s Guest of Honor week here at Sirens, we welcome a review from Jae Young Kim on Roshani Chokshi’s Aru Shah and the End of Time.

Aru Shah and the End of Time

Roshani Chokshi’s middle grade debut, Aru Shah and the End of Time, is delightful from start to finish. I am not even mad that Chokshi ended the book on a wicked cliffhanger, because it means she has to give us a sequel! (Book two, Aru Shah and the Song of Death, came out on April 30, and it’s on the top of my to-be-read pile.)

Twelve-year-old Aru Shah thinks she’s just an ordinary middle schooler trying to fit in. One day, on a dare, she rubs a cursed lamp and discovers she is, in fact, the reincarnation of one of five Pandava brothers, semi-divine heroes of a famous Hindu epic—and she must save the world. Mild spoilers ahead, but they are on the book’s jacket copy and are revealed very early on.

Chokshi dives deeply into the rich world of Hindu mythology, introducing gods, demons, beasts, and magic that is exciting, weird and fun. I love all mythology and fairy tales, so for me, this was an easy sell. It’s also not a surprise that a book curated by Rick Riordan on his Rick Riordan Presents imprint tells a story with mythology bursting from every page. But Chokshi adds her own stamp on a very old story. I am very glad that she chose to have the brothers be sisters. How can someone be reincarnated hundreds of times and always be male? Patriarchy, of course, but to have Chokshi subvert that from the very beginning was deeply gratifying.

And it’s not only important that Aru is a girl, she’s an Indian-American girl. As a Korean-American girl, I would have loved to see girls of color accepted without question as heroes— nay, heroines—of the story. I had read books with white girls as protagonists, but that meant ignoring an important part of myself, being Korean. Aru is not only a girl but an Indian girl, and her identity deeply informs how she interacts with the world around her.

The diasporic aspects of this re-telling were compelling for me but may be a mixed sell for others. Reimagining demons as hair stylists and night bazaars as Costco is just fun, and as one character in the book notes, “families moving to new countries and imaginations evolving” means adapting and changing. But Aru still maintains traditions like not eating beef, as a Hindu, or pranama, touching the feet of elders, or immediately calling all Indian women auntie upon meeting them. Since I am also of the Korean diaspora, I appreciate the references to American pop culture, and the unique take on mythology and culture from that lens, while still maintaining traditions of our families. Chokshi tells us the stories she’s loved and heard many times, but provides context for the readers. The one minor gripe I have is that some of the references feel a bit dated, like Johnny Cash and Die Hard, and may resonate more with adults than children. I say this only because I understood all of the American pop culture references, and I am definitely not twelve years old.

My favorite part of Aru Shah and the End of Time, though, is Aru and her found family. She meets a fellow Pandava sister, Mini, very early on and the development of their relationship is amazing. I love romance storylines, and out of most of my reading, I don’t often see a family and friend relationship celebrated as much as Chokshi’s Aru and Mini. It’s clear that Aru and Mini becoming sisters is just as important as their quest to save the world.

If you love friendship stories, sibling stories, reimagined Hindu mythology, and just plain fun, Aru and Mini’s adventures will crack you up and warm your heart. So run, don’t walk to the bookstore and be glad you get to jump right into the sequel when you’re done!


Jae Young Kim is a born-and-bred New Yorker and a lifelong fan of fairy tales, fantasy and science fiction. She is a non-profit attorney by day and writes when she can, not always by night. The only thing that keeps her up until dawn these days is a good book.

 

Further Reading: Roshani Chokshi

Did you already love Aru Shah and the End of Time? And the sequel? And The Gilded Wolves and all the books and novellas in the Star-Touched series? As part of Roshani’s Guest of Honor week, we’re pleased to compile some of her short fiction, poems, articles, and guest posts, found around the web.

Roshani’s short fiction:

  • The Wives of Azhar” (2015): Originally published in Strange Horizons, a retelling of the Bluebeard story where the murdered wives get their revenge.

  • The Vishakanya’s Choice” (2015): Originally published on The Book Smugglers, a short story about a vishakanya (poison maiden) who meets a conqueror and makes a bargain.

  • The Star Maiden” (2015): Originally published in Shimmer, a short story about a girl whose grandmother claims to be a star maiden.

  • A Trade at the Fox Wedding” (2016): Originally published in Mythic Delirium, a short story in which a girl escapes to the forest and stumbles into the fox wedding.

Roshani’s poems:

In Roshani’s own words:

 

Roshani Chokshi: There’s not a one-size-fits-all when it comes to the Chosen One


We’re pleased to bring you the fourth in a series of candid, in-depth interviews with this year’s Sirens Guests of Honor, covering everything from inspirations, influences, and craft, to the role of women in fantasy literature, and discussing our 2019 theme of heroes! We hope these conversations will be a prelude to the ones our attendees will be having in Denver this October. Today, Sirens co-founder Amy Tenbrink speaks with Roshani Chokshi, our first ever Sirens Studio Guest of Honor.

S15_author_interview_graphic

AMY: What does heroism, especially in the context of speculative fiction, mean to you? How did you set about reimagining the Pandava brothers as Aru and Mini, reluctant, contemporary seventh-grade heroines? And please tell me that you knew how girls would react to their heroism! Because my seven-year-old niece—who demanded to know why everyone in Harry Potter was a boy—can’t get enough Aru and Mini.

Roshani Chokshi

ROSHANI: To me, heroism is the act of celebrating the individual. There’s not a one-size-fits-all when it comes to the Chosen One. You can have the bravest, most compassionate mermaid in the world try to rise up against the forces of a Cheeto Overlord, but if the second she hits land, she’s barking in the eloquent lexicon of elephant seals, we’re still kinda fucked. A ridiculous example, of course, but to me it reflects how each of these character’s strengths and weaknesses makes them—and only them—uniquely fit to tackle the story’s situation. Kids need to see a thousand versions of heroism. They need to see themselves and feel that greatness and valor doesn’t belong to one type of person.

The Pandava brothers all had defining characteristics—the strong one, the beautiful one, the wise one, the responsible one, the one who’s good at everything wtf. I loved reimagining how their strengths and, more importantly, their weaknesses would translate in the modern world. For example, Arjuna—the main hero of the Mahabharata and whose soul Aru possesses—has a lot of doubt. And it really struck a chord with me that in the struggle to be brave, we often question the paths we’re on.

As for the girls’ reactions, that grew out of the Sailor Moon fanfiction I used to write. In those stories, me and my best friends became sailor scouts. Our reaction to this newfound strength and responsibility??? UTTER PANIC. “WHAT NO, TAKE IT AWAY, DO NOT WANT.” So, very similar to Aru and Mini. 🙂 I’m glad your niece enjoyed!!

Aru Sha and the End of Time Aru Shah and the Song of Death

 

AMY: Relatedly, perhaps, how do you set about writing gender in your work? Your characters frequently defy and subvert stereotypes, such as in A Crown of Wishes when Gauri’s go-to problem-solving technique is violence, while Vikram’s is charm. Your characters also often address gender issues on the page, from the gods’ relentless assumptions that Aru and Mini could not possibly be the reincarnated Pandava brothers to Laila’s admonishment of Tristan in The Gilded Wolves that “If you get in the way of a woman’s battle, you’ll get in the way of her sword.” How do you build these characters that are wholly themselves, despite our societal expectations of their gender?

ROSHANI: I love this question mostly because it makes me feel very smart. Woohoo! Characters take me a long time. They don’t come naturally to me, and it’s one of the parts of my craft I’m always working on. I think the reason why I struggle with building characters is because they demand a part of your soul, and I’m loath to make more Horcruxes and end up as a noseless Voldemort. I give each of my characters a part of myself. Either a part I’m ashamed of or a part I’m proud of, and then I put those characteristics in situations that move in the opposite direction…that which made me feel shameful becoming a benefit, that which I was proud of becoming its own poison. That is how they stay themselves despite the expectations the world may shove upon them. When it comes to societal expectations of gender, it makes me happy when a character celebrates who they are relentlessly, even if they’ve got other flaws. For example, Vikram is a prince and he knows he’s smart and adorable and celebrates that in himself. He would walk around in a shirt that says “BETA HERO” and really not think less of himself. Laila is different. She is a character aware that she exists on the margins; aware that she’s exoticized; aware that she sometimes must participate in exoticizing herself to live in this world. But she thinks no less of herself. I think knowing how your characters think of themselves is key to making them feel more alive.

The Star-Touched Queen A Crown of Wishes

 

AMY: Your dad is Indian and your mom is Filipino, and in an interview with Rick Riordan, you said, “The way that we bridged those cultural gaps at home was fairy tales and stories…. The more things that you read, the more stories, fables, etc., the more you see that they’re all the same across every cultural spectrum.” And you can see that, so readily, in your work, from your contemporary, America-set version of the Pandava legends, to your latest novel, Paris-set The Gilded Wolves, which features both Indian Laila and half-Filipino Enrique. You’ve also spoken eloquently about trying to bridge those gaps in your own life, including in your wedding this year! What is it like to put these cultural bridges, and related colonial deconstructions, into your work?

ROSHANI: It’s honestly sometimes awkward. I never know if I’m crossing into the realm of TMI or if I sound like a broken record. At the end of the day, all I can reassure myself with is that I needed to hear these perspectives when I was younger and those resources weren’t available to me. The very least I can do is try to help someone else avoid that situation of feeling erased and invisible. I think about this a lot when I look at some of my earliest stories. I was 22 before I wrote my first story with a character who looked like me. Until then, they were all named Erin or Hailey or Alice. I didn’t write myself in because I felt like I needed permission from the books I read.

 

AMY: Just when I thought I couldn’t possibly love any of your work more than Aru Shah, along you came with The Gilded Wolves: a dazzling, dizzying heist novel set in Paris during La Belle Époque. But your Paris is not all champagne and magic and courtesans, it’s racism and colorism and colonialism. Then you layered in a series of riddles based on things like the Fibonacci sequence, a cast of gloriously unique and hilarious characters, and a lush, slow-burn sensuality. How did you even begin to create this work? And perhaps more importantly, how did you get it from your head to the page?

The Gilded Wolves

ROSHANI: I’m so glad you enjoyed!!! The Gilded Wolves really challenged me both craft-wise and imagination-wise, and is far different from anything I’ve ever written. I rewrote the story top to bottom about eight times, and there were so many points at which I thought I should just throw in the towel and beg my publisher to let me write something else. The Gilded Wolves had innocent, jovial beginnings. I just wanted to write a National Treasure-esque tale without Nicolas Cage (lol). But the setting and deciding to put imperialism on the page changed the emotional scope of the book, and when I dug deeper into the characters and their motivations, I realized this couldn’t just be “Ooh! A thing! Let’s go to where the thing says!” I had to think about what this trilogy was saying overall and that took a lot of failed attempts! Getting it from my head to the page was like an organized, military attack. My whole apartment was taken up with plot/emotional schematics. The door to my office had red notecards in a vertical line that outlined every plot beat and plot twist. Beside those cards were the individual emotional arcs and beats that needed to be hit. It was…rough. But it taught me a lot!

 

AMY: You’ve shared how Aru Shah came to be: You’d heard about the new Rick Riordan Presents imprint and emailed your agent that same day to ask about the opportunity. Then you wrote the first three chapters in a “fugue state.” And they bought the books! So often we’re taught that ambition is unseemly and unlikeable. Would you please share what it was like to chase that dream—and what it felt like when you heard that Rick Riordan Presents would be publishing the Aru Shah series?

ROSHANI: Ambition is riotously attractive and let no one tell you otherwise! I think with any dream chasing, there’s a certain amount of feeling like you’ve lost touch with the ground. You’re drunk and floating on external validation, your head feels like it’s in the clouds, and it’s great until you start wondering if you’re too far away to hear commonsense. Like, how DARE you be so happy? How DARE what you wanted and worked hard for suddenly happen? Being a woman of color makes me especially awkward when it comes to talking about my accomplishments. I always deflect it, thinking that the happier I am, the higher the chances that the universe will snatch it away because of arrogance. The wonderful thing about an experience like RRP was that it was harrowing. For the first time, I felt very…public…in a way that I hadn’t experienced with my other books. I got bullied. I got weird Insta comments and DMs. And not taking ownership of my words was no longer an act of modesty but cowardice. It taught me to articulate that I was proud of the story I’d written, that someone couldn’t take this from me and don’t you dare chase me because I chase back.

 

AMY: Sirens is about discussing and deconstructing both gender and fantasy literature. Would you please tell us about a woman or nonbinary person—a family member, a friend, a reader, an author, an editor, a character, anyone—who has changed your life?

ROSHANI: I have dutifully spoiled my moms, sisters, grandmother and aunts so I know they’ll forgive me for not writing a novella of their wondrous and noble qualities for this answer and picking someone else for a change. I would say my eighth grade English teacher, Ms. Koscik. I did not like my seventh grade English teacher (except for that one and ONLY time she liked my writing) and I had a deficiency in her class. More than that, I always felt foolish. But in eighth grade, Ms. Koscik nurtured my imagination. She made me feel that what I said was worth saying. Eighth grade was when we tackled Arthurian myths and World Mythology, and read Shakespeare and engaged with the language. It was awe-inspiring. Sometimes it only takes one person to say they’re listening to make us have the courage to speak up.


Roshani Chokshi is the New York Times bestselling author of the Star-Touched series and Aru Shah and The End of Time, Book #1 in the Pandava series. She grew up in Georgia, where she acquired a Southern accent but does not use it unless under duress. She has a luck dragon that looks suspiciously like a Great Pyrenees dog. Her work has appeared in Strange Horizons, Uncanny Magazine, Shimmer, and Book Smugglers. She is a 2016 finalist for the Andre Norton Award, and a 2016 Locus finalist for Best First Novel. Her short story, The Star Maiden, was longlisted for the British Fantasy Science Award.

For more information about Roshani, please visit her website or her Twitter.

 

How do heroes confront power structures?

Sirens Newsletter—Volume 11, Issue 4: April 2019

This month:

 

What does heroism mean to Dr. Suzanne Scott?

“Heroism, at least from my perspective, is about the defiance of expectations…all heroes force us to grapple with how the normative is entrenched, and our own relationship to hegemonic power.” – Dr. Suzanne Scott

If you’re in need of a pick-me-up, just pop over to Suzanne’s faculty bio on the University of Texas website, which reads like a Sirens wishlist. And as if that’s not enough to get you super excited for our first-ever scholar Guest of Honor in October, check out our interview with Suzanne where we talk fandom, feminism, cosplay, Cordelia Chase, and more on her role as a Professor of “Geek Culture”.” You can also read a review of Suzanne’s book, Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry from our review squad, and you can find some more of Suzanne’s academic writing around the web, which we’ve compiled here. In honor of Suzanne, check out people’s #SirensIcebreaker on their favorite or most memorable fandom experience. Last but not least, take a crash course in fan and media studies with a list of Suzanne-recommended works.

 

The Programming Proposal Window is Open (Until May 15th)!

Sirens’s amazing, magnificent, you-have-to-see-this programming is proposed by…attendees! That means you! (No, you don’t have to be registered to propose programming, only planning to attend—or planning to attend if your proposal is accepted.)

You have an amazing fantastic must-be-discussed topic for this year’s Sirens! Great!

Are you ready to tell us about it? Submit your proposals here.

Do you have questions about types of presentations and what you need to submit? The guidelines are here.

It’s good, but you need to bounce your ideas around or find some collaborators? Visit us on Twitter or our unofficial Facebook group to connect with other Sirens. Or join the upcoming chat on May 13th, from 9–11 p.m. Eastern (6–8 p.m. Pacific).

You’d like to submit, but on what? Find some ideas to spark your imagination on Twitter at #SirensBrainstorm.

Want to get to know this year’s Vetting Board? We chat with a few of them here.

 

Sirens Studio, Get to Know Your Faculty: Amy Tenbrink

You might know Sirens co-founder Amy Tenbrink, but do you know about her ass-kicking career powers? We interviewed her earlier this month to find out what drives this legendary lady and what Studio attendees can expect from her career development intensive, “Negotiating Your Professional Life.” “Unless you’re willing to sacrifice your ambition, your assertiveness, and your self-respect, I recommend that you start getting comfortable with the idea that you will sometimes make any number of people…very uncomfortable.” Also, check out her thoughts of Mingmei Yip’s The Witch’s Market for her book club read this month on the blog and Goodreads.

 

By You, For You

The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books they’ve read and enjoyed! This month, we’re lucky to have two indie booksellers stop by with recs, as if you needed more books to add to your shelf.

The Beast Player

Casey Blair reads, reviews, and waxes poetic on Nahoko Uehashi’s The Beast Player, translated into English by Cathy Hirano. It’s “a coming-of-age story, but it is also a meditation on, in particular, what it means to be free.” Full review here.

 

Inkheart

Celebrate the joy of reading with Sami Thomason’s list of 7 Fantasy Books for Bibliophiles, “from middle grade to young adult to adult, about enchanted books, magical libraries, and the power of the written word.” Read the full list here.

 

Heads Up

  • Sirens Studio is filling up because of course it is. Have you seen this year’s faculty? This is going to be awesome, so get your ticket today.

  • Missed the Programming Chat? There will be one more May 13th!

  • Programming Scholarships: our fabulous community raised funds for three scholarships for presenters, and now is the time to apply! Simply specify your interest in being considered when you submit your programming proposals, which again, are due May 15th.

  • But October is too faaaar! Fear not, this May you can attend a Sirens Meet-Up in Denver (May the Fourth Dessert Party!) or New York (BYOBlanket and picnic!).  Details for Seattle on May 25, Boston on June 6, and D.C. on June 22 coming soon!

 

Look at all the fresh spring books blooming this month

By clicking on our collage of April’s new fantasy books!

Erynn’s Pick:

A True Blue Idea

I was drawn to this book by what looked like the traditional tarot High Priestess relaxing in her off-time on the cover. However, Marina Colasanti’s A True Blue Idea is actually a collection of ten short, illustrated, and often dark fairy tales by a long-established Brazilian author/artist only now being translated into English. Her poetic style utilizes irony and symbolism, and her work has been described as “feminist utopian fiction” and a “unique blend of the poetic and the socially conscious.”

 

Faye’s Pick:

Pilu of the Woods

Sometimes, all I need is a heartwarming graphic novel with adorable art to make me have faith in the world again. In Mai K. Nguyen’s Pilu of the Woods, Willow gets into a fight with her big sister, and runs away to the woods, where she meets a forest spirit named Pilu. Call me millennial mush, but I’m in full favor of acknowledging, naming, and feeling all the feelings for the good of one’s emotional health. This one is a purported gem about grief, growing up, nature, and family. And there’s a dog, too!

 

This newsletter was put together by:

Erynn Moss + Faye Bi


Questions? Concerns? Please email general queries to (help at sirensconference.org) and questions about programming to (programming at sirensconference.org).

 

Take a Crash Course in Fan Studies with these 8 Must-Read Works

For our 2019 theme of heroes, we’re not just looking at works of fiction, but also examining the landscape of fandom, participatory culture, and intersectional feminism. Dr. Suzanne Scott shares some of her favorite reads spanning fan and media studies, comics, and young adult novels in an essential reading list. Take it away, Suzanne!

 

Squee from the Margins
1. Squee from the Margins by Rukmini Pande

Fan studies as an academic field has, historically, not done an exceptional job of engaging how race shapes both fannish identities and the politics of participation, and even less frequently grappled with the realities of racism within fan culture. Rukmini’s book is a much-needed intervention in this area, and a great read.

Asian American Media Activism: Fighting for Cultural Citizenship
2. Asian American Media Activism: Fighting for Cultural Citizenship by Lori Kido Lopez

Lopez does a fantastic job of historicizing and contextualizing Asian Americans’ community activism surrounding mainstream media representations, bringing these conversations into contemporary digital and social media spaces.

The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games
3. The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games by Ebony Elizabeth Thomas

Yes, that’s right, I’m recommending you a book that hasn’t even been released as I compose this sentence. That’s how much I am looking forward to this book, and how confident I am that it will be incredible. Thomas is a fantastic scholar and writer, and this deep dive into race and YA speculative fiction is long overdue.

No cover image available
4. “In the Time of Plastic Representation” by Kristen J. Warner

We’ll be waiting a few more years for a full book from her on this topic, but in the meantime, I spread this important provocation as far and wide as I can. You may not always agree with it, but Warner makes some vital points about where “representation matters” rhetoric falls perilously short of provoking real change.

Empowered: Popular Feminism and Popular Misogyny
5. Empowered: Popular Feminism and Popular Misogyny by Sarah Banet-Weiser

An incredibly insightful and timely look into our chaotic cultural moment.

Bitch Planet
6. Bitch Planet by Kelly Sue DeConnick and Valentine De Landro

I’m sure this comic book has already been recommended to you a million times, but it’s that good. I will recommend it until the end of time.

Womanthology
7. Womanthology

140 women (comic book writers, artists, inkers, letterers, editors, and publishers) came together to make this Kickstarted comics anthology (and, yes, I was a backer). Spearheaded by Renae De Liz and eventually released by IDW, I love this collection for its inclusivity (both in terms of the creative force behind it, but also its variety of style and content) and for its mission, which was to expose the comics industry to up and coming comics writers and artists who due to various systemic and structural bias have a harder time getting their foot in the door.

Ship It
8. Ship It by Britta Lundin

As an unabashed fangirl, most fictional representations of fan culture make me want to tear my hair out, either because they are written by folks who have only ever peripherally engaged with fan communities or (worse yet) fall into the ethnographic trap of exoticizing the fan as “other.” Also, I’m a sucker for a good fictionalized account of the power negotiations that occur between media creators, industries, and fans in our contemporary moment.


Suzanne Scott is an Assistant Professor in the Radio-Television-Film department at the University of Texas at Austin. Her current book project, Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry (forthcoming from NYU Press, 2019) considers the gendered tensions underpinning the media industry’s embrace of fans as demographic tastemakers, professionals, and promotional partners within convergence culture. Surveying the politics of participation within digitally mediated fan cultures, this project addresses the “mainstreaming” of fan and geek culture over the past decade, how media industries have privileged an androcentric conception of the fan, and the marginalizing effect this has had on female fans. She is also the co-editor of The Routledge Companion to Media Fandom (2018). Her scholarly work has appeared in the journals Transformative Works and Cultures, Cinema Journal, New Media & Society, Participations, Feminist Media Histories, and Critical Studies in Media Communication as well as numerous anthologies, including Fandom: Identities and Communities in a Mediated World (2nd Edition), How to Watch Television, The Participatory Culture Handbook, and Cylons in America: Critical Studies in Battlestar Galactica.

For more information about Suzanne, please visit the University of Texas Radio-Television-Film department website or her Twitter.

 

Suzanne Scott’s Fake Geek Girls and the binaries of fan culture

The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books (often fantasy literature by women authors) they’ve read and enjoyed. If you’re interested in sending us a review to run on the blog, please email us! Today, in honor of Suzanne Scott’s Guest of Honor week here at Sirens, we welcome a review from Hallie Tibbetts on Suzanne Scotts’s Fake Geek Girls.

Fake Geek Girls

I am of two states of mind about being a fan and about the concept of being “in fandom.”

On the one hand, I have had wonderful experiences engaging with and sharing my love of particular stories—and it’s always love for stories, isn’t it—from acting out scenes from Heidi and Star Wars under the tables in kindergarten to longing for just one more episode of Ranma ½ to planning expansive, immersive Harry Potter conferences with a million moving pieces, among other fan activities. I wouldn’t be where I am today had I not, through writing fanfiction, finally learned not just about punctuation and grammar, but concepts like foreshadowing and symbolism that were opaque to me during my formal education. I wouldn’t have met the majority of my closest compatriots—people I connected with online, while being an unabashed nerd—and I wouldn’t have been so easily able to bypass the early, awkward, and for me, slow and nerve-racking stages of making new friends. If you’ve considered yourself to be “in fandom,” you’re probably nodding along with at least a few of those experiences.

On the other hand: Fandom has given me some awful experiences. It’s a time-sucking distraction from other pursuits—an intense crush with all the attendant (and unrequited!) feeeeeeelings. A fandom is a community of very real personalities, which can produce a great deal of pointless and exhausting drama, as well as shut people out for any number of reasons, not limited to just their favorite tropes or characters, but including the very essence of who they are. And, on a personal note that I rarely share, the end of my tour of fandom duty ended with a heavy dose of toxic (mostly) masculinity, harassment, and threats, and those situations and people haven’t disappeared, even though I have disappeared from them—and my worst experiences were nothing, relatively, given that doxxing and swatting are in play now.

I haven’t considered myself to be “in fandom” for a decade now. My recent media loves no longer prompt me to seek story extensions outside those of my own brain—though maybe I haven’t met my next perfectly fannable thing yet. Sometimes I miss the sense of joy and wonder at knowing I’m not the only one who’s been transported into and by a story; other times, I’m so deeply protective of my own mental journeys I can hardly admit I enjoyed a work. So when it came time for Sirens to review the academic Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry by guest of honor Suzanne Scott, I was, unsurprisingly, of two minds: I’ll do it, and I don’t want to do it at all. But, like a Lannister, I keep my promises (and yes, pay my debts). And like Angelica Schuyler, I managed this review right on time.

Fake versus real. Geek, opposed to “normal.” Girls: gendered, always lesser, always weaker. Fake Geek Girls is an apt title, because the book addresses the many binaries that are in play in fan culture—and that have been codified by fan studies as a discipline.

And the binaries are many, and often actively placed at odds by media producers. Fanboy against fangirl. Creator against consumer. “Good” fan against “bad” fan, and against “bad” fannish engagement. But, backing up a little, fan studies does acknowledge that there are people who are not white, heterosexual, cisgender men between the ages of about 18 to 34 who are fans of things, unlike many people who create solely with that demographic in mind. In fact, fan studies acknowledges feminism, or at least how feminism plays into the engagement of female fans. This feminist lens, however, has not been consistently or even mostly intersectional—that is, fan studies has nodded to feminism through a white, cisgender, and primarily heterosexual lens. There is a lot to unpack in that concept of feminism alone.

Fake Geek Girls addresses the previously mentioned dichotomies and more, again, through teasing out the binaries as well as those places where middles and others are found. And it focuses on the binary pieces that have been named as by or for women, and how activities and engagement are coded female or feminized, and who supports that coding. This comes up in concepts of acceptance of or resistance to canons; authenticity or “selling out”; and questions about who is elevated to the role of business partner (through projects as wide-ranging as becoming employed by a media franchise or selling sanctioned merchandise), and who or what activities are relegated to an unpaid gift economy—and why. These theoretical questions come with real examples in fandoms from Star Trek to The Walking Dead, so fandom practitioners may run into a few of their favorite controversies.

Why examine these binaries? Well, there is a certain because: because fan studies itself has studied these binaries, and it’s worthwhile to reflect on how academic work itself may have contributed to the binaries in turn. And why focus on women’s experiences in fan culture? This, I think, a reader can intuit before it’s stated, and here I draw from the book’s conclusion: “…women are systematically alienated or rendered less visible within geek and fan culture.” (231) And if we can, as the author notes, think about “questions of identity and power,” we can hope for ever more inclusivity and intersectional work.

After reading this history of fan studies as much as examination of fandom feminism, I came away with questions. How has the shift from heavily text-based social media to more visual forms in the past view years reinforced affirmation of canons and creators? If I use a hashtag just to see what other people I don’t know are tweeting about a show, what are the inadvertent benefits and consequences? What role do or should fans play in open-ended serial franchises? When can it be useful or helpful to read the Goodreads reviews? And to what extent are my fannish actions feminist, and what do I owe feminism and other fans, if anything, in my media consumption?

Here’s an answer: I don’t know. Not everything. Not today, anyway. Heck, for all you know, I’m Jon Snow, never to know anything at all. But I have a few ideas, and I do know that I’m real, I’m a geek, I’m a girl, and that whether you align with all of those labels or not, your real geekiness should get to have a home in fandom. Fake Geek Girls is a trip through the reflection that has come so far—and still has so far to go.

Even though my fannish tendencies seem distant and inaccessible right now, I appreciate the reminder that my actions as a media consumer affect the production of media. I can request a book from the library or buy one. I can leave a review, or recommend a book to another reader. And these small actions give me immense power to support the publishing of stories I love and ideas I want to uplift. Today, that’s what I’m taking away.


Hallie Tibbetts has been involved with Narrate Conferences and its events since its inception in 2006, serving variously as education officer, communications officer, and vice president, along with chairing a number of conferences (including many years of Sirens). She works in editorial at Little, Brown Books for Young Readers on books for children age zero to eighteen, but doesn’t mind if grownups like those stories too.

 

Further Reading: Dr. Suzanne Scott

New to fan studies? Eager to read more of Dr. Suzanne Scott’s research? As part of Suzanne’s Guest of Honor week, we’re pleased to have compiled some of her scholarly articles, blog posts, and conversations, found around the web.

Journal Articles:

  • The Trouble with Transmediation: Fandom’s Negotiation of Transmedia Storytelling Systems” (2010) in Spectator: “I’d like to…close by pointing towards one of transmedia’s greatest potential threats: its ability to fracture fandom and studies of fandom into two gendered camps, instead of focusing on its intersections and questioning binary assumptions about how fans consume and produce.”

  • Fangirls in Refrigerators: The Politics of (In)visibility in Comic Book Culture” (2013) in Transformative Works and Cultures: “I don’t mean to suggest that the comic book industry treats female fans as brutally as it occasionally treats its female heroes, but rather that female fans of comic books have long felt ‘fridged,’ an audience segment kept on ice and out of view.”

  • Towards a Theory of Producer/Fan Trolling” (2018) in Participations: “[Instances] of producorial or fannish trolling reveal a great deal about each groups’ esteem for one, but also function as part of broader efforts to reassert power and/or align one camp with the other’s distinct understandings of ‘appropriate’ affect.”

Publications on In Media Res (“Each weekday, a different scholar curates a 30-second to 3-minute video clip/visual image slideshow accompanied by a 300–350-word impressionistic response.”):

  • ‘Something to Prove?’ Contemplating the Fake Geek Academic” (2014): “If the ‘fake geek girl’ and GamerGate movements seek to silence marginalized voices, open source academia needs to collectively ensure that these instances of authenticity policing don’t have a similar effect on scholarly production.”

  • WoMEN’s Work: Representing Fan Labor on Heroes of Cosplay” (2015): “[Professionalized] female fans are represented and received differently from their fanboy counterparts, whose capacity to professionalize their labor is rarely scrutinized.”

  • On the Feminist Impact of DC Bombshells” (2015): “Between franchises like DC Bombshells, and transformative fan art movements like The Hawkeye Initiative, we appear to be in a moment in which the intersections between pin-up iconography and superheroine representations are being challenged and repurposed.”

  • Rethinking Fan ‘Investment’: Legion M and the Future of Fanancing” (2018): “What [Legion M delivers] is a pedagogical vision of corporatized fan culture, in which the perks of professionalization (e.g. access to “pitch elevator” contents, Hollywood premiere and parties, and celebrities) are valued above creative autonomy or fan community.”

Guest Blog Posts on Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins::

  • “Acafandom and Beyond” (2010), conversation with Will Brooker, Melissa A. Click, and Sangita Shresthova (Part I, Part II): “A fannish sensibility isn’t a quirk that must be concealed, but something that can be wielded strategically to think about how to model transformative scholarship, or design more participatory pedagogical models.”

  • “Kickstarting Veronica Mars: A Conversation About the Future of Television” (2013), conversation with Aymar Jean Christian and Mauricio Mota (Part I, Part II, Part III, Part IV): “Many, myself included, are inclined to view the Veronica Mars Kickstarter as a prime example of fan empowerment… But, I still worry about what it means to discursively celebrate fans’ power in purely economic terms.”

  • “The Last Jedi: An Online Roundtable” (2018), conversation with Will Baker, Mar Guerrero-Pico, and William Proctor (Part I, Part II, Part III): “My primary complaint is that the film so consistently pulls its punches both representationally and mythologically.”

 

Dr. Suzanne Scott: My OTP as a fan scholar is fandom and intersectional feminism

We’re pleased to bring you the third in a series of candid, in-depth interviews with this year’s Sirens Guests of Honor, covering everything from inspirations, influences, and research, to the role of women in fantasy literature, and discussing our 2019 theme of heroes! We hope these conversations will be a prelude to the ones our attendees will be having in Denver this October. Today, Sirens co-founder Amy Tenbrink speaks with Dr. Suzanne Scott, our first ever scholar Guest of Honor.

S15_author_interview_graphic

AMY: For attendees who may not know your work, would you please tell us a bit about it? What is your field? What are your main areas of research? What topics do you teach? What issues do you love to discuss and deconstruct?

Suzanne Scott

SUZANNE: My research sits at the intersection of fan and audience studies, media industry studies, digital culture studies, and feminist media studies. This is all just a long way of saying I’m interested in how media industry/fan relationships have shifted in recent years alongside the mainstreaming of both geek culture and digital technologies that allow culture to be more participatory and how gender shapes these relationships…for better and for worse. Much of my work focuses on boundary policing practices within fan communities, and who can more or less easily occupy the cultural category of “fan.” I joke that I teach the “geek culture” courses (video game studies, gender and fan culture, remix culture, a transmedia storytelling course that focuses on Star Wars, and so on), but really what I’m hoping students get out of my classes is an understanding of the politics of participatory culture, and the critical thinking and making skills to assert themselves within that culture.

 

AMY: What does heroism, especially in comic books or speculative work, mean to you? Does gender influence that definition?

SUZANNE: Heroism, at least from my perspective, is about the defiance of expectations. This is often manifested quite literally in things like superpowers, but I think more holistically all heroes force us to grapple with how the normative is entrenched, and our own relationship to hegemonic power. Hegemonic power, or the maintenance of sociocultural hierarchies, is all about people en masse buying into a sort of “common sense” logic that is undergirded by expectations about people that are raced, classed, aged, gendered, and so on. And it’s precisely because that work is speculative that I think it’s powerful. The speculative media I’m most drawn to takes place in the very near future, where the more dystopian elements represent a clear warning (we can understand, as audiences, how our sociopolitical failings in the present will bring us to this future) but also afford enough temporal leeway to shift gears and potentially right wrongs. Alternately, they can help us see our contemporary moment more clearly. Bitch Planet is one of those comics for me, which on the one hand makes a very compelling argument about the logical ends of growing antifeminist sentiment, but also clearly conveys who is most at risk in this culture, how identity shapes that, and also offers some nuanced critiques of how white feminism might counterintuitively be helping to fuel it.

 

AMY: Much of your recent work has been on heroism and bodies. And so much of your work for so long has been about the transformation of works when they reach the hands of fans, including the transformative work of cosplay. Talk to me about your work in this space: What is so important about the intersection of heroism and bodies, and how does that intersection change or evolve when you consider cosplay?

SUZANNE: One of my favorite things I’ve written is a piece on the Tumblr “The Hawkeye Initiative,” which is a fanart project that takes submissions of panels of female superheroes from comics that have been redrawn to feature the male superhero Hawkeye (often satirizing the initial representation both in back-breaking poses and skimpy costuming). It’s undoubtedly a fan activist effort, and I would argue a very effective one, in large part because it forces us to confront how desensitized we can become to this recurring imagery precisely because of its consistency over time. It becomes so commonplace that, while we might immediately recognize it as sexist or racist or sizeist or ableist, we don’t see any meaningful way to intervene. The fanart submitted to “The Hawkeye Initiative” ruptures that, and clearly conveys the absurdity of many of these poses and representations. Fans have a long history of using transformative works to comment on both a media object and culture at large, and this is one effort that I feel speaks both directly to comics book creators and the industry, but also comments more generally on beauty culture and norms.

My new book project I’m embarking on now is all about the fan body, both as a site of cultural anxiety and as a reflection of fandom as an emergent lifestyle brand. The key for me, here, is who gets to more or less easily occupy that body or capitalize off of that lifestyle brand. I’m excited, in part because I get to tackle issues of ableism, racism, transphobia, sizeism, and homophobia in ways I didn’t in my prior book, but also because I get to delve into things like food and nerdlesque (yes, that’s nerd burlesque) and cosplay and fitness. Heroic bodies feature heavily into this, particularly the fitness chapter, which surveys an array of “superhero” themed workouts and athleisure wear. I’ve just started researching and doing some field work (such as running a Wonder Woman themed 5K), but I’m already seeing some key distinctions in how the gendered superhero body as an aspiration fan body is presented.

 

AMY: You and I have talked, repeatedly, about gender and fandom, often about how women and non-binary people are the oft-unsung heroes of fandoms, doing the lion’s share of the invisible labor necessary to create and maintain fandoms. And indeed, your brand-new book, Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry, is all about gender and fandom—and the frequent marginalization of female fans. In your view, what does the current evolution of gender in fandom look like, and where are we headed?

Fake Geek Girls

SUZANNE: I think my book tells one very specific narrative about how cishet white men have been conceptually centered within both industrial and fan-cultural understandings of the ascendance of geek and fan culture over the past decade and how that, in turn, has marginalized already marginalized fan identities and empowered small segments of that privileged fan demographic to often violently police the boundaries of acceptable or “authentic” fan identity. So, on the one hand, we have women being consistently told they are unwelcome or inauthentic fans in ways that range from overt harassment to subtle messaging by industry about who can more/less easily occupy that identity. On the other, I end the book stating that my OTP as a fan scholar is fandom and intersectional feminism, and talking a bit about fan fragility (a play on Robin DiAngelo’s discussion of white fragility). This is to say, I think there is a real and immediate need for white women within fan culture (and I absolutely include myself here) to grapple with their role in upholding systems of power that they benefit from, and considering the ways in which women might be performing similar exclusionary work.

 

AMY: Let’s talk about money and power, specifically commercialization and fan appropriation of speculative works. We all know that female characters disappear somewhere along the way to toy production and that I can buy a sexy Ghostbusters costume in two seconds from Amazon. Relatedly, we also know that if I want a Black-Widow-on-a-motorcycle action figure or a full-blown Jillian Holtzmann costume, I need a fan to create it for me. But there’s power in those fan creations, power that isn’t there in simply buying something off the shelf at Target, power in actively taking back the commercialization that major media companies won’t readily provide. Talk to me about money and power and fans.

SUZANNE: I’ve written about this mostly through the #wheresrey pushback on social media to the lack of merchandise surrounding The Force Awakens, but yes this has been an ongoing problem wherein fangirl consumers (and particularly young girls) get routed into heterosexist fan merchandising traps early and that persist over the lift course. The easiest shorthand for this would be a boy’s t-shirt that says something like “I want to be a superhero!” and the girl’s variant proclaiming “I only date superheroes,” and then eventually women’s merchandising proclaiming things like “Training to be Batman’s wife.” One thing fan scholars have and do continue to focus on in our work is how fan community spawns production cultures dominated by women, which remains a rarity. So, as you suggest in your question it’s not all gloom and doom. I look at all the female fantrepreneurs who are very pointedly making alternatives to that sort of merchandise and are building legitimate brands around these alternatives to mainstream fan merchandise. Now, much of this form of “fan empowerment” is still couched in neoliberal or postfeminist consumption, so issues of capitalism and class are still very much in play, but there is something generative in feeling like you are supporting an individual (one who may even be a part of a broader fan community) rather than a corporation.

 

AMY: Sirens is about discussing and deconstructing both gender and fantasy literature. Would you please tell us about a woman or nonbinary person—a family member, a friend, a reader, an author, a scholar, a character, anyone—who has changed your life?

SUZANNE: This is tough, as about twenty names of very real, very incredible women immediately came to mind. I’m going to go with a fictional (not to mention potentially controversial) choice, which is Cordelia Chase from Buffy the Vampire Slayer. Now, for any who haven’t watched this series, Cordelia started out as a sort of stereotypically vapid rich bitch/mean girl foil, and eventually became a more nuanced character over time. That said, picking her has nothing to do with the character as it was represented on television, and everything to do with the fact that BtVS was the first digital fan community I participated in during the late 90s. I was a part of an IRC chat roleplaying collective where I portrayed Cordelia (as a newer member of the community, I wasn’t about to be trusted with Buffy), and it was my first time writing what was essentially collaborative, real-time fanfiction with a community of other women. That space was so special, because it exposed me to the transformative power of fannish textual production, and feminist fan spaces more generally (something that obviously has gone on to shape both my life and my research). Cordelia empowered me to rewrite narratives I found to be too facile, encouraged me to garner a deeper understanding of myself through identity play and performance, and introduced me to the ways in which fan works can function not only as media criticism, but media objects and art in their own right.


Suzanne Scott is an Assistant Professor in the Radio-Television-Film department at the University of Texas at Austin. Her current book project, Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry (forthcoming from NYU Press, 2019) considers the gendered tensions underpinning the media industry’s embrace of fans as demographic tastemakers, professionals, and promotional partners within convergence culture. Surveying the politics of participation within digitally mediated fan cultures, this project addresses the “mainstreaming” of fan and geek culture over the past decade, how media industries have privileged an androcentric conception of the fan, and the marginalizing effect this has had on female fans. She is also the co-editor of The Routledge Companion to Media Fandom (2018). Her scholarly work has appeared in the journals Transformative Works and Cultures, Cinema Journal, New Media & Society, Participations, Feminist Media Histories, and Critical Studies in Media Communication as well as numerous anthologies, including Fandom: Identities and Communities in a Mediated World (2nd Edition), How to Watch Television, The Participatory Culture Handbook, and Cylons in America: Critical Studies in Battlestar Galactica.

For more information about Suzanne, please visit the University of Texas Radio-Television-Film department website or her Twitter.

 

Presented by Narrate Conferences, Inc.

 

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