Nominations are open for both the Hugo and Nebula Awards, and wouldn’t you know it, Tor.com had the honor of publishing some eligible works in 2010!
The Hugo and Nebula Awards are presented each year to outstanding works of science fiction, fantasy, horror, or related fiction genre published during the previous year.
Hugo winners are selected by the members of Worldcon. This year’s convention is Renovation, in Reno, NV, but members from last year are also eligible to nominate; you need to buy at least a supporting membership for Renovation by January 31 in order to nominate.
The Hugo nominations period is open through Saturday, March 26th, 2011. The ballot is here, and you may nominate up to five works in each category.
The Nebula Awards are voted on by active members of the Science Fiction and Fantasy Writers of America, Inc. (SFWA for short). Nebula nominations are open through Tuesday, February 15, and the form is here; you must be a SFWA member, and logged in, to nominate.
Novelettes
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“Vilcabamba” by Harry Turtledove |
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“Fare Thee Well” by Cathy Clamp |
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“The Cage” by A.M. Dellamonica |
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“River of Souls” by Beth Bernobich |
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“Lightbringers and Rainmakers” by Felix Gilman |
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“Sacrifice of the First Sheason” by Peter Orullian |
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“The Trains that Climb the Winter Tree” by Michael Swanwick and Eileen Gunn |
Short Stories
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“Looking for Truth in a Wild Blue Yonder” by Jay Lake and Ken Scholes |
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“The Starship Mechanic” by Ken Scholes and Jay Lake |
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“Tourists” by Sean Craven |
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“The Final Now” by Gregory Benford |
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“The Next Invasion” by Robert Reed |
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“Four Horsemen, At Their Leisure” by Richard Parks |
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“The Courtship of the Queen” by Bruce McAllister |
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“The Cockroach Hat” by Terry Bisson |
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“What Doctor Gottlieb Saw” by Ian Tregillis |
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“Olga” by C.T. Adams |
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“The President’s Brain is Missing” by John Scalzi |
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“A Stroke of Dumb Luck” by Shiloh Walker |
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“Eve of Sin City” by S.J. Day |
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“What Makes a River” by Deborah Coates |
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“The Fermi Paradox Is Our Business Model” by Charlie Jane Anders |
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“The Speed of Time” by Jay Lake |
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“The Monster’s Million Faces” by Rachel Swirsky |
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“Preparations” by Mark Mills |
| “Intersections and Interlopers” by Ken Scholes and Lisa Desrochers | |
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“Good Night, Moon” by Rudy Rucker and Bruce Sterling |
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“Clockwork Fairies” by Cat Rambo |
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“A Different Engine” by Eileen Gunn |
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“Day After the Cooters” by Eileen Gunn |
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“The Perdido Street Project” by Eileen Gunn |
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“Internal Devices” by Eileen Gunn |
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“Ponies” by Kij Johnson |
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“Sweetheart” by Abbey Mei Otis |
Short Stories (Reprints)
These are stories that first appeared in other markets this year, but are eligible for 2010 awards and deserve some signal-boosting!
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“Good People” by David Wellington |
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“The Man with the Knives” by Ellen Kushner |
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“The Green Bird” by Kage Baker |
Graphic Stories
A Hugo-only category, although graphic stories may be nominated for the Nebula in existing prose categories.
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Red Light Properties by Dan Goldman |
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King of an Endless Sky by Teetering Bulb Studios |
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Dear Melissa by Teetering Bulb Studios |
Editor, Short Form
Hugo only
| Patrick Nielsen Hayden | |
| Liz Gorinsky |
Artists
Hugo only
Thanks for posting this comprehensive list. I’ve read so many good things on Tor.com in the past year that it’s difficult to keep track.
Question: Is there a definitive method for determining the wordcount of a published story, for purposes of Hugo/Nebula categorization? My own estimates for some pieces (here and elsewhere) don’t match their listed categories. I figure I’m doing something wrong.
Thanks for the list!
ITregillis @1: For the Hugo Awards, WSFS has, as far as I can tell, never attempted the descent into madness that defining “word count” would be. It is precisely because the definition is so slippery and inconsistent that we have the grey zone on the category boundaries and that we authorize Hugo Award administrators to move works between adjacent catetgories under certain circumstances.
I seem to recall having attended at least one WSFS Business Meeting where individuals have brought up the matter of defining what a “word” is for award purposes, only to be shouted down by cries of horror from the assembled SMOFS who know that if we tried, there would be blood on the floor and pistols at ten paces before we were finished.
Kevin @@@@@ 3:
Thanks for the detailed explanation! You’ve pretty much confirmed my suspicions. There’s just as much greyness in wordcount when it comes to the manuscripts themselves– some writers and editors go by the hoary old Standard Manuscript Format technique, others just go by whatever number the word processor spits out.
But since payment is often tied to a wordcount, I’d think that would give the publisher the definitive say on the length of a published work. Not that every venue would want to (or should have to) go around toting up the word counts for everything they published over the year.
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Thanks for the excellent list!