From the mind of Megan Arkenberg

November 13, 2016

Now we see through a glass, darkly

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In the midst of everything, I never got around to updating this blog. Friends, it's not good news. My father died at the end of September. Life goes on, but it's difficult. Be excellent to each other.

-M.

October 1, 2016

New Fiction and Poetry

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"In the City of Kites and Crows," a dark dystopian fantasy about love in the wake of a revolution, has just been published in the autumn issue of Kaleidotrope. In September, my Weird tale "It Will Make You Hate the World" appeared in Mantid Magazine and my poem "To the Waters"--the first I've published since 2014!--appeared in Liminality.

In more personal news, the ongoing family crisis (TM) is ongoing and critical. Thoughts, prayers, and good vibes appreciated.

May 21, 2016

My WisCon Schedule

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I'll be at the convention from Friday to Monday morning. If you see me, please don't feel shy about saying hello! I love putting faces to names. 

My panel schedule:

The Unequal Distribution of Emotional Labor Sunday, 8:30–9:45 AM
Mary Anne Mohanraj, Megan Arkenberg, Megan Condis, Heidi Waterhouse, Kenzie Woodbridge 
We see it in fandom, in creative fields, in tech, in the Maker movement. How to identify when this is happening and how to push back.

It Came From the Slush Pile - Sunday, 2:30–3:45 PM
Sigrid Ellis, Megan Arkenberg, Eric M. Heideman, Fred Schepartz, Effie Seiberg
Editors of short fiction share their slush pile horror stories. What are the turns of phrase that have made you spit coffee over your keyboard? What are the cover letter faux pas writers keep committing? What are the stories that have made you edit your guidelines to avoid seeing their like ever again? Part advice for new submitters, part venting for slush pile veterans, this panel should warn both groups just what they're up against–or competing against.

How Not To Think About Women Characters - Sunday, 4:00–5:15 PM
Debbie Notkin, Becky Allen, Megan Arkenberg, Claire Humphrey, Justine Larbalestier
"She's such a Mary Sue." "She's only there to serve the story of a male character." "Her characterization is so inconsistent" or "She's too flat to be interesting." As consumers of media—even feminist consumers—we have a whole language at our disposal when we need to justify disinterest or dislike towards a woman character. But as often as these idioms are accurate criticisms of a work, they can also be ways to avoid actually talking about the character AS a character. Some questions to consider: Do the ways in which we critique women characters result in a denial of their agency? Is describing women characters as "inconsistently characterized" a way to avoid seeking out their motivations? Is being a "foil" or a parallel always a subordinate role?

January 15, 2016

Mirror Dance re-opens to submissions

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That's the big news for today. See the guidelines here, and note that we have a new address for e-mail submissions.

"Palingenesis" has garnered some nice words from Charles Payseur at Quick Sip Reviews (a new favorite review blog, by the way: Payseur's comments are generous, attentive, and lyrically written) and Maria Haskins, who recommends it along with eight other "intriguing" speculative stories from around the web. I won't be linking to the review at Tangent, which misgenders a non-binary character in a way that strikes me as deeply dismissive, if not intentionally malicious. In fact, I'll link to this instead: American Dialect Society, "2015 Word of the Year is singular 'they'."