Ellison has received 8 Hugo Awards, beginning with his short story “’Repent Harlequin!’ Said the Ticktockman.” His other Hugo Award winners include the short stories “I Have No Mouth, and I Must Scream,” “The Beast that Shouted Love at the Heart of the World,” “The Deathbird,” “Adrift Just Off the Islets of Langerhans: Latitude 38° 54′ N, Longitude 77° 00′ 13″ W,” “Jeffty is Five,” and “Paladin of the Lost Hour.” His screenplay for the Star Trek episode “City on the Edge of Forever” also earned him a Hugo. Ellison has also won four Nebula Awards for his stories “’Repent Harlequin!’ Said the Ticktockman,” “A Boy and His Dog,” “Jeffty is Five,” and “How Interesting: A Tiny Man.” SFWA has also given him the Bradbury Award for 2000x, in collaboration with Yuri Rasovsky and Warren Dewey. He has also won the World Fantasy Award, Bram Stoker Award (5 times), British Fantasy Award, British SF Association Award, the Jupiter Award (twice), the Prometheus Hall of Fame Award, and has three Worldcon Special Convention Awards.
LASFS presented Ellison with the Forry Award in 1970. He received a Milford Award for Lifetime Achievement in 1986, a World Fantasy Lifetime Achievement Award in 1993, an International Horror Guild Living Legend Award in 1995 and he received a Bram Stoker Lifetime Achievement Award the following year. He won the Gallun Award from I-Con in 1997. Ellison was named a World Horror Grandmaster in 2000. SFWA named him a Grand Master in 2006. In 2011, he was inducted into the Science Fiction Hall of Fame and received the Eaton Award for Lifetime Achievement. He was a Worldcon Guest of Honor at IguanaCon II in 1978 and a World Horror Con Guest of Honor in 2005.
Hi, folks! Mike Allen here. When I last came through, I bloggedaboutmonsters. I want to thankBlack Gateoverlord John O’Neill for granting me leave to return to this space and shill my new project.
Among the many things I do, I’m the editor of a series of fantasy anthologies called Clockwork Phoenix. At least, the first three books were marketed as fantasy by my previous publisher, even though I included some strange science fiction in their pages as well. (Though I’m someone who sees science fiction as a subset of fantasy rather than a whole separate thing, one of the reasons I’ll use them if they’re odd enough.)
And I’m going to be editing and publishing a fourth volume in the series, thanks to a Kickstarter campaign that’s still underway. As of this writing I’m closing in on an $8,000 goal that will let me for the first time pay five cents a word for fiction – we’re going pro. If we keep going past that, I hope to launch a webzine that will be a companion to Clockwork Phoenix and the poetry journal I also edit and publish, Mythic Delirium, creating even more space for the kind of writing I love to thrive.But we’ll blow up that bridge when we come to it, eh?
John suggested I talk to you folks about how Clockwork Phoenix functions as a fantasy market, and I think that’s a fair question, given what Black Gate is all about.
Put bluntly, Clockwork Phoenix is a market for those who want to push the boundaries of what fantasy can be. I encourage stylistic experiments but insist the stories should also be compelling.
I want to point out that this gives me also sorts of freedom to include material that can’t be easily classified, I wouldn’t call it a break with long standing tradition in our field, at least as I’ve experienced said traditions.
I want to tell you how I was first introduced to short fiction that carries the fantasy label. I’m pretty sure then you’ll see what I mean.