The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Anthology Award dates back to 1976, although it was not presented in 1978. The inaugural award went to the anthology Epoch, edited Roger Elwood and Robert Silverberg. The 1980 award was won by Terry Carr for Universe 9. It was Carr’s third win in a row, with his first two being for entries in his Terry Carr’s Best Science Fiction of the Year series. The Locus Poll received 854 responses.
Terry Carr’s Universe series of anthologies ran for 17 volumes, beginning in 1971 and only ending with Carr’s death in 1987. During that time, he also edited 16 volumes of Terry Carr’s Best Science Fiction of the Year, five volumes of Fantasy Annual, and two volumes of The Best Science Fiction Novellas of the Year. Sixteen of the volumes of Universe ranked in the Locus Poll (only Universe 7 missed out), and Carr won the Locus Poll for entries of Universe for volumes 1, 4, and 9. In four years, Carr’s best of year anthology beat out his own Universe anthology in the poll.
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.