ASTRONOMICON í02

PANEL SELECTIONS

  1. HOW TO BE A BIG TIME SCIENCE FICTION WRITER
  2. There are classic names in Science Fiction, Asimov, Bradbury, Clarke, Lovecraft, or Poe. How do you get to be a "Big Time" pro? Is it the writing, or will marketing get you there?

  3. ENTERPRISE, A NEW BEGINNING FOR STAR TREK?
  4. The original Star Trek started the phenomena, but it seems that each incarnation of the series seems to be diminished from the original. But has Enterprise re-ignited the flame of popularity for the franchise?

  5. IS MAGIC A SCIENCE?
  6. There is a saying that "Any significantly advanced science or technology seems like magic to a primitive civilization". Is that really true? Is magic just another form of Physics that we donít understand yet?

  7. THE SCIENCE OF THE SUPERHERO
  8. Spiderman went from radioactive to genetically enhanced. Superman is still just a huge solar collector. Who knows if it will be "gamma radiation" that will turn the Hulk green next year. The more we learn of science, just how plausible is it for some of the superheroís powers and gadgets to work in the real world? And can we now create our own Batman, Spiderman, and Wolverines with the science present today?

  9. UNIVERSE OBSOLETE
  10. With the way science and technology keep changing, can the classics in science fiction really hold up to the realities of today?

  11. BUILDING A FANTASY WORLD WITH MAGIC
  12. When designing you world, what sort of magical system do you put in. Do you design a "High Magic" or "Low Magic" world? What effect does either play on designing characters in this world?

  13. HOW DO YOU PROJECT TECHNOLOGY INTO THE FUTURE?
  14. In the fifties and sixties no one figured computers would be as small and pervasive as they are today. But everyone was supposed to have jetpacks. How do you determine what technologies will flourish and which ones will fall by the wayside?

  15. DUELING SKETCHPADS
  16. We will have one of our writers read a passage, and some of our artists on hand will render their interpretation of what was read

  17. WHY CANíT ALIENS ACT ALIEN?
  18. When you see most alien cultures they are just derivatives of human cultures. Why donít writers make aliens really alien?

  19. THE WORST IDEA FOR A STORY YOU REALLY TRIED TO WRITE
  20. What was that story idea that you really thought was great? And why do you now think it was a bad idea to write it?

  21. GALACTIC ECONOMICS
  22. In the future there are societies that donít use money, and there are societies that do. How can you have a society that doesnít need to carry pocket change, and with the ones that do what is the exchange rate amongst different societies?

  23. SURVIVING YOUR FIRST CONVENTION
  24. For some of us old timers we know the hazards of no sleep, or food for the weekend. If you would like to live through your first convention this panel will give you advice for making the convention a really enjoyable event.

  25. THE FUTURE OF SPACE EXPLORATION
  26. With the Mars missions less than perfect record, and the Shuttles all down with cracks in their fuel lines, where do we see space exploration in the next fifty to one hundred years?

  27. ROMANCE AND SCIENCE FICTION AND FANTASY
  28. Lois and Clark, Beauty and the Beast, Skully and Mulder, Delenn and Sheridan, John Crichton and Aeryn. Has romance invaded science fiction and fantasy, or has it always been there?

  29. SHORT STORIES vs. NOVELS
  30. Which is better to write? Which is easier to get published?

  31. RITES OF PASSAGE IN SCIENCE FICTION AND FANTASY
  32. Removing the sword from the stone. The quest. Defeating your evil father with his own lucky flashlight. These are some of the standard rites of passage, why do we keep seeing them rehashed? Are there other ways to "become an adult"?

  33. VIRTUE IS PRETTY
  34. Ever wonder why the good guy has to look like Fabio, or the heroine has to be Tyra Banks to sell your book? Can a regular person like you ever be on the cover of a book?

  35. THE ART OF SWIPING
  36. Thereís that character you thought was great in another book. Can you take that character change the name, hair color, and eye color and call it your own? It happens all the time in comics; does it happen anywhere else?

  37. USING MYTHOLOGY IN SCIENCE FICTION AND FANTASY
  38. Beowulf, Hercules, and King Arthur have all been used hundreds of times in literature and movies. What are some other mythologies that can be used?

  39. THE FOLKE OF FANDOM
  40. Fandom has many myths in its past. The bathtub full of lime Jell-O, Harlan Ellison getting into fistfights, Harrison Ford just hanging out in a con suite. What are some of the ongoing myths that permeate fandom?

  41. HUMOR IN SCIENCE FICTION AND FANTASY
  42. You have Joxer in Xena, and in comics you have the sidekick. There are the works of Douglas Adams, Harry Harrison, and Terry Pratchett. Does humor have a place in science fiction?

  43. ARCHEOLOGY AND HISTORY IN SCIENCE FICTION
  44. Indiana Jones started it, and maybe Laura Croft finished it. The role archeology plays in creating a culture or setting for science fiction and fantasy. Can knowing the past really help design a future setting?

  45. NEW IDEAS IN FANTASY
  46. Where do you go to find new ideas for fantasy novels? Do we still have the dashing knight saving the princess from the evil magician, or are there new ideas yet to be discovered?

  47. WORLD WEEKLY NEWS: MENACE OF POT FULL OF IDEAS?
  48. Where do they come up with all those ideas that they print weekly in the tabloids? Do they have science fiction people working for them, and how can you use them effectively to come up with plots for your own novels, or stories?

  49. ARE MUNDANES RUINING SCIENCE FICTION AND FANTASY?
  50. It has been reported in polls that 75% of Americans consider themselves science fiction fans! Then where are they? Why do we get the dreck that we do on television, and in publishing? Why does William Shatner sell more books, and is better known than Robert Silverburg?

  51. ALTERNATE ART MARKETS
  52. With the advent of the Internet and more garage publishing, where are some of the other markets that you can sell your art? What are some of the copyright problems encountered when to publish your artwork online?

  53. ALTERNATE WRITING MARKETS
  54. With the advent of the Internet and more garage publishing, where are some of the other markets that you can sell your writing? What are the copyright problems when you publish online?

  55. GETTING THE SCIENCE RIGHT IN SCIENCE FICTION
  56. How many times do we see on television, and in movies, ships moving counter to the laws of physics? How many times can Xena just bounce her Frisbee (I canít spell Chakrum) off of peopleís heads and fly back to her? And just what canít nano-technology do?

  57. CENSORSHIP
  58. It has come to a point in the world where censorship is running rampant. There are places that wonít allow the Harry Potter books to be placed out. A few years back Marvel decided after a kid wrote them saying that smoking was bad, to stop all their characters from smoking. And since 9-11 itís becoming OK to turn in people for things that look funny. Does the general public have the right to tell you what to write? Or what type of characters you can have in your stories?

  59. FUN, FUN, FUN ON THE INFOBAHN
  60. The internet has been said to be the great melting pot. Everyone is equal, you can find all kinds of information, you can shop anytime, and the streets are paved with gold! Does the Internet really deliver everything it promises?

  61. FANZINES, APAS, BBSíS. DO THEY HAVE A PLACE ANYMORE?
  62. In the old days people would get together get out the Gestetner and roll out a fanzine or APA. There was the local BBS where you would go and catch up on your newsgroups. Do they really belong in the next millennium? How will they change?

  63. CREATING AND DESIGNING CHARACTERS
  64. How do you come up with a character? What kind of attributes do you put into your hero? Or do you just use a friend as a character because it can be easier?

  65. COMICS IN THE NEW MILLENNIUM
  66. Stan Lee has a web based comic, and he is also designing the DC universe as he would have in the 60ís. What happened to all those independents in the 90ís? Will Marvel and DC merge? Will they get comic book characters right in the movies?

  67. THINK FUTURE ACT PRESENT: POLITICAL ACTIVISM IN SF
  68. Could any SF or Fantasy author have come up with the last presidential election as a plot in a story or novel? Why are we still land locked to this planet? What can fans do to help the political process along?

  69. WRITING FOR THE YOUNG FAN
  70. Asimov, Clarke, Heinlein, Sheffield, and Rowling have all done fairly well writing science fiction for the juvenile market. Is there really a juvenile market? What makes a juvenile story different than your normal story (outside of the younger main character)?

  71. WHY DO REPUBLICAN ADMINISTRATIONS AND HORROR READERS CORRELATE?
    Is it because Republicans are scary? Boring? Is it subliminal messaging of some kind? Do the Democrats have a genre?
  72. ODDBALL SUB-FANDOMS
    People with diverse fannish interests (conlanging, SCA, fan fiction, smofs,
    etc) get together to discuss what's it like to belong to a sub-fandom? How do you relate to larger fandom? How did your sub-fandom get started? How is it evolving? Are there similarities among the groups? Differences?
    [Name your sub-fandom.]
  73. WETWARE vs. HARDWARE
    Could human intelligence actually migrate to a machine environment? Is it a good idea? Will Ted Williams freezing his head really work?
  74. A MINED FIELD?
    Again, neither Star Wars nor Star Trek made it to the 2001 Hugo Ballot. Are they
    played out? Are we tired of them or do we still feel there is unexplored territory for them to deal with? On a broader scale, how does a writer/creator know when there is nothing more to say?
  75. A WRITER PREPARES
    Stanislavsky, the inventor of method acting, insisted that his actors find
    something in their own inner lives to use as an emotional base for bringing
    a character to life. Does this approach help the writing process?
  76. STAYING IN CHARACTER
    Costuming, writing, and role-playing gaming all rely on the invention of
    character. How do you create a character? How do you keep the character believable over an extended period of time? How does a character mature?
  77. PRIVACY AND THE FUTURE
    Can we continue to have privacy in a future where everything from your
    genetic code to your book buying habits could be stored on a computer?
    Is there a limit to private property? Can living things be patented?
    Should copyrights extend forever? Since 9-11, is privacy a notion of the past that we must live without?
  78. ROMANTICISM vs. REALISM
    One of the great conflicts in the 19th and 20th centuries was the clash
    between romantic ideal and the realism of science and technology. How does this conflict reflect in our genres? Will this conflict continue into the 21st century? Is there some middle ground between the two extremes?
  79. THAT WHICH TERRIFIES
    What makes something really creepy? Why are things creepier at night? How do our taboos play into our sense of horror?
  80. MAKE YOUR OWN RELIGION FOR FUN & PROFIT OR AT LEAST PLOT
    What sorts of things does a religion need in order to function? What things make a religion interesting in fiction? What things are a religion better off without? It worked for L. Ron Hubbard.
  81. SHAPESHIFTERS IN THE DARK
    Why do were-creatures terrify? Why are things that were once human, or like humans but aren't, more frightening than animals or aliens?
  82. MEETING AT THE CROSSROADS: GENRE BLENDING
    Crossgenres can be fun, but it can also be tricky. What kinds of pitfalls
    are there? Which blends of genre work best? Badly? Not at all?
    [Genres can include SF, Fantasy, Horror, Mystery, Romance, Westerns, etc.]
  83. MYSTERIES: THE HIDDEN GENRE
    Supposedly our fandom concentrates on SF, Fantasy, and Horror, but Mysteries
    keep creeping in. What is the attraction of dual genre books? Are there differences between mundane mysteries and mysteries in our genres?
  84. HALL COSTUMES vs. MASQUERADE
    What are the basic differences? What can you get away with in one but not the other? What are the drawbacks of each?
  85. IS THE SCI-FI CHANNEL REALLY SCIENCE FICTION?
  86. IS GENRE DRIVING MEDIA & TECHNOLOGY?
    DVDs, personal computers, electronic music, and cell phones. Does SFsí interest in technology drive the merchandising in that area?
  87. IMPERIAL AMERICA. WAS 9-11 THE START OF A WORLD GOVERNMENT?
    With all the 9-11 frenzy, and the world not being the nice and happy, sunny place that most people think it should be. Was Afganistan just the starting point for a world government? And just who will control this government? A lot of SF stories had Earth with a world government. What will it take to make one for the present day?
  88. THE REAL CONSPIRACY REVEALED
    We've all heard about the Kennedy Assassination The Illumanati and the Knights Templar. Now we want to know what's really going on.
  89. IS THERE LIFE WITHOUT VAMPIRES?
    Nick Knight, Angel, Lestat, and Dracula, what happened to the Horror genre? What would help to jump-start it?
  90. MILITARY TACTICS IN FANTASY AND SCIENCE FICTION
    How realistic are the tactics? How does military hardware & technology differ in the two genres? Why do most movies just look like a western?

  91. NEW SCIENCE FICTION AND FANTASY CLICHES
  92. Computer hackers, monster storms... what are we doing too much of?

  93. FORGOTTEN CLASSICS
    What needs to be republished? What authors with no backlist need to be promoted?
  94. CAN TV BRING BACK READING?
    What is the function of tie-in fiction? Does name recognition create crossover readers? Is this killing the book industry?
  95. WRITING ABOUT CHARACTERS WHO ARE SMARTER THAN YOU ARE
    How do you work with characters who have characteristics that you lack? Where do you get help for your knowledge gap?
  96. OH MY GOD, WHERE DID THEY GET THAT? HOW IS COVER ART PRODUCED
    Writers and artists talk about good examples and bad examples. How do genre conventions affect what is allowed on cover art?
  97. LAST ONE TO LEAVE TURN OUT THE LIGHTS: THE GREYING OF FANDOM
    There's a lot of discussion about the aging of fandom, but marketing in
    various media seem to think we're a big enough market to pay attention to.
    What's really going on? Certainly a lot of younger fans are *not* at this con. Is that because they don't exist or because they are elsewhere? Can/should we do anything about this?
  98. FROM MAX FLEISCHER TO SHREK: AMERICAN ANIMATED GENRE FILMS
    How does changes in technology change what we are seeing in animation?
  99. WORST SF MOVIE EVER? HAS BATTLEFIELD EARTH DETHRONED PLAN 9? OR IS THE WORST YET TO COME?
    What makes these movies so bad? Would the Scientology connection have killed it anyway?
  100. WHATíS HAPPENING IN GENRE TV?
    What's going on? What good is coming out of the current explosion? What's not so good? Is Firefly going to survive on Friday nights? Will they ever come up with a network SF show that can compete with ER, Survivor, or American Idol? What could make a good SF TV show?
  101. COVER BLURBS TO AMAZON REVIEWS: THE INS AND OUTS OF MARKETING
    What's involved in marketing a book, artwork, or game? What strategies are useful? What strategies have downsides?
  102. BACKRUB WORKSHOP
  103. INTERACTING WITH FICTION
    Gaming, fan fiction, interactive fiction, art, costuming, etc. are all ways of interacting with a fictional universe other than just reading. What is the draw of such activities? Do they involve creativity of their own or are they just using ideas that other people have already come up with? (Tell us what interactive thing/s you want to talk about.)
  104. SCIENCE FICTION FOR FANTASY FANS
    What kinds of SF might the hardcore fantasy fan like? What should they avoid?
  105. FANTASY FOR SCIENCE FICTION FANS
    What kinds of fantasy would the hardcore SF fan like? What should they avoid?
  106. MYTHICAL ANIMALS AS THE TECHNOLOGICAL INFRASTRUCTURE OF FAERIE
    Animals act as transportation, communication devices, recording devices, etc. in various fairy tales. Why are animals chosen to fill these technological niches? Are there technological roles that animals haven't played yet but could?
  107. AFTER THE APOCALYPSE: DESIGNING A NEW WORLD
    If something destroyed our civilization, how would you rebuild it? Would you use a pre-existing model or come up with a new one?
  108. EXPANDING THE SCIENCE FICTION AUDIENCE
    Proposals for expanding the SF audience have included getting SF into schools and giving more support to the small press. Let's discuss the strengths and weaknesses of these ideas and see if new ideas emerge.
  109. CHEAP, FAST AND OUT OF CONTROL: TECHNOLOGY IN THE HANDS OF ORDINARY PEOPLE
    Sometimes technology has unexpected uses and unexpected consequences. What kinds of things might be getting loose, now and in the future? What ramifications could result from things like DNA testing at home? Or building a nuclear power plant in your basement?
  110. MAMMALISM: WHY IS WARM AND FUZZY ALWAYS GOOD?
    Why are insects and reptiles so often the villains? Is a frog attractive only when it's a prince? Is "bird-brain" a species-ist insult?
  111. WHAT DO HEROES DO FOR DAY CARE?
    Heroes seem to always be pre- or post-family. Why is this so? How come the hero never takes his/her family along on the adventure? Is there a way to make this work? Spiderman and Superman seem to be handling it. So did Reed and Sue Richards. Supposedly there were families on the Enterprise in Next Generation.Why donít we see more of this?
  112. IS IT MEMOREX OR IS IT PRINT?
    In the past century we've developed ways of recording aural and video phenomena and reproducing real-time events. What does this technology mean for the future of culture? What things still need to be stored in words and pictures in non-linear media (like books)? What things work better when moving pictures and sound are combined linearly?
  113. WE DONíT GET NO RESPECT
    Sci-fi movies and TV bring in the big audiences and the big bucks, but never get mainstream awards. Is this the same old SF ghettoization that we've seen before, or is something else going on? Or is the movie Trekkies closer than we would like to believe?
  114. HEROIC PASTS, HEROIC FUTURES
    Are we the first civilization that looks to our future for a golden age rather than to our past? What does this say about us? Are there elements of our past that we
    consistently project into our vision of the golden future?
  115. INVISIBILITY
    Invisibility has often been explored in SF and fantasy (e.g., "The Invisible Man," "The Women Men Don't See," the Ring-Bearer, etc.). What are the advantages of invisibility? What are its disadvantages? What does it cost to be invisible?
  116. IS ECOLOGICAL SF THE NEXT NEW WAVE?
    Now that cyberpunk is passe, are stories about the environment, environmental disasters and the consequences of environmental change coming to the fore? Is this a long-term or a short-term trend? What kinds of development would help establish these stories as a significant sub-genre?
  117. HARD SF: EXPLICIT SEX IN SCIENCE FICTION AND FANTASY
    Is there enough of it? Do SFís roots as an adolescent literature make it inherently sexually conservative? Are aliens sexier than humans? Why is it more acceptable in fantasy than in science fiction?
  118. THE BLACK PLAGUE vs. Chernobyl: NATURAL vs. TECHNOLOGICAL DISASTERS
    Do natural and technological disasters have different outcomes? How does each change our culture? Do they require different methods of prevention?
  119. IS THERE ART AND MUSIC IN THE FUTURE?
    Fantasy books are full of musicians and tapestries, but try to find that kind of stuff in SF and it's more difficult. Is it harder to project the arts into the future than other aspects of culture? Or is there another problem?
  120. CROSSING THE DIVIDE: TRANSLATING FROM ONE MEDIUM TO ANOTHER
    What stories, comics, etc. make good movies? What movies make good novels, comics, etc.? Why?
  121. 1984: NON-FICTION
  122. Remember the "Negative Utopias" of decades ago where technology (computers mostly) robbed us of our humanity and privacy? Guess what? It happened. Does anyone care? Or is it just a discussion to be had in a chat room between bill234 and jane546?

  123. GOOD
  124. Is it hard to write the hero of a novel? Can a good person or creature really be interesting? Can you or your reader really relate to a "Dudley DoRight sort of character?

  125. EVIL
  126. Do you find yourself having to tone down you delightfully evil villain? Just how easy is it to write an evil character? Do you draw upon your darker side? Is it easier to get your audience to believe in your villain, than in your hero? There seems to be lots of stories in which the villain is the main character nowadays. Or is it that they just donít build heroes like they used to?

  127. SF vs. FANTASY DEBATE:
  128. We want two or three SF writers and two or three Fantasy Writers to debate the case for why their chosen genres are the best. They get to make their case to the audience as to why their genre is the best. Debaters will talk about classic (and lousy) examples in their fields. The literary and entertainment value in SF and Fantasy, what their writing has to offer readers and much, much more. Itís Kennedy vs. Nixon, Ali vs. Frazier, SF vs. Fantasy! The Thrilla in Rochester!

  129. STATE OF THE ART OR STATE OF CONFUSION?
  130. Why is it that SF writers have no problem predicting the future of the human race, but canít seem to figure out whatís just around the corner of the SF publishing world? This panel looks at the history of SF publishing in an attempt to figure out whatís ahead for SF readers and writers in the future. Will SF Publishing still exist as weíve come to know it? Will we attract talented young writers or is the field aging beyond repair? Let'í take a cold hard look at the realities of the marketplace and discuss whatís in store for the genre we love.

  131. BEST CHARACTERS IN RECENT SCIENCE FICTION AND FANTASY
    SF is often considered short on characterization. What have you read lately that belies this?
  132. THIS LAND IS YOUR LAND: APPROPRIATING OTHER CULTURES AS FICTIONAL CULTURES
    What is it about certain cultures that make them attractive for appropriation (examples: the Roman Empire, the Celts, the Japanese)? Is this really a form of stereotyping? How can it be done well? Why have very few writers tackled Africa or South America?
  133. FROM HOTRODS TO HACKERS: FANS AND THEIR HOBBIES
    What are your non-fan hobbies? How do they relate to fandom? Do fans tend to gravitate toward certain kinds of hobbies? Are there types of hobbies we avoid?
    (Tell us what your hobby is.)
  134. EARTH AS A THIRD WORLD PLANET
    The Peace Corps of the Galactic Federation wants to build us a space station to give us a leg up. What are the pros and cons of letting them help us? (Tell us if you're generally going to argue pro or con.)
  135. GETTING BEYOND CLICHES: HOW TO BREATH NEW LIFE INTO OLD MATERIAL
    How do you avoid the criticism of "it's been done before"? Are there things so overused that it's impossible to use them again?
  136. IS THERE A WEAKER SEX IN ZERO-G?
    What perceived gender differences could be altered by changing the environment? Which ones can be altered by technology? Which ones can be altered by changing cultural perceptions? Is anything left?
  137. GAMING 101: BASICS FOR THE NOVICE
    What kinds of gaming are there? How do you get started in each? How do you know if you're playing out of your league?
  138. ANIME WITHOUT TEARS
  139. What is Anime, how did it start, and where is it going? A beginners guide to anime.

  140. GOING NATIVE
    What cultures other than your own do you look to for inspiration? What attracts you to those cultures? How much can you borrow from other cultures and still have the result look new instead of copied? (Tell us what culture/s interest you.)
  141. GLASS CEILINGS
    Do our genres have glass ceilings (in writing, art, editing, etc?) How can they be combated? (Tell us which ones you have experience with.)
  142. GAMING ON THE INTERNET
    How does it change things?
  143. WILL PEOPLE LIKE ME EXIST IN THE FUTURE?
    We live in a time when we gain a lot of our identity from belonging to subcultures within a larger culture, yet it seems that SF often depicts a future without subcultures. How is your subculture faring in current SF? How would you like to see your subculture projected into the future? Will subcultural identity continue to be as important in the future as it is now? (Tell us the subculture/s you want to talk about.)
  144. ARE WE LOSING OUR SF PAST?
    Will anyone remember Alfred Bester other than a B5 character with his books
    out of print?
  145. IS SF/FANTASY ART TOO GENERIC?
    Mainstream books have abstract covers, but SF rarely not. Why not? Do we want that sort of thing? Any success entering nonrepresentational art in SF art shows?
  146. ASTEROID IMPACTS
    Recently there has been a lot of news coverage on our near misses with asteroids. How likely are we to be hit by an asteroid in the future? What can we do? What would happen if we were hit?
  147. BEST OF THE SF SMALL PRESS
    What small press magazines are worth reading? Are there any small press
    authors who should be better known?
  148. THE BIOLOGY OF DRAGONS AND ALIENS
    We know they're mythical. But if they did exist, how would they live? Does
    SF get biology right?
  149. CHICKS IN CHAINMAIL AND OTHER BATTLE GEAR
    What's the allure of women in combat? Is it equal rights or just babes in brass
    bras? Is it a realistic concept?
  150. CROSS-GENDER ROLE-PLAYING IN GAMING
    Men playing women and vice versa. Why? Are these people more
    sophisticated, or merely sick? Or is it we need to attract more women to role-playing? How do we do that?
  151. DOES SIZE MATTER?: THE SINGLE WORK vs. THE TRILOGY vs. THE SERIES
    Why are series so popular? Do readers need familiar territory?
  152. DUE FOR REDISCOVERY
    What great authors are we overlooking? A reading list for new SF readers.
  153. FAVORITE FANTASY FILMS
    There are plenty of SF films, but fewer fantasy ones. Which are worth seeing? Will Lord of the Rings rekindle an interest in fantasy movies?
  154. FROM SCIENTOLOGY TO COMMUNION
    The Role of SF in spreading pseudoscience. How does this happen? Media or print SF?
  155. GAMING AS AN INTERACTIVE NOVEL
    Is Gaming just a book where you take part? Or something more?
  156. GETTING STARTED AS AN SF ARTIST
    How do you contact magazines? Are fanzines a good training ground? Convention art shows?
  157. GO OUT AND RENT THESE NOW: OBSCURE SF VIDEOS
  158. Just because (put name of hot new movie here) isnít available at the local video store, doesnít mean there isnít anything good. Iím sure Solaris is still there waiting for you to pick it up. What other gems are out there?

  159. NEW WRITERS TO WATCH
    Name names. Whoís the new Asimov or Norton?
  160. NOT JUST "WHAT IFÖ?": CONSTRUCTING AN ALTERNATE HISTORY
  161. How do you like to start? What types of points are worth changing?

  162. SF vs. FANTASY: DIFFERENT OR THE SAME THING?
    Is SF merely fantasy with rocket ships? Isn't a lot of the science in SF
    FTL, time travel -- merely magic with a pseudoscientific rationalization?
  163. SF vs. SCI-FI
    What's the difference? Is it important, or are we just being snobbish?
  164. SFX REPLACES SF
    Written SF lets us create new worlds with our imaginations. With films able to create great special effects, has written SF lost one of its drawing points? Can the mind compete with ILM?
  165. SHOULD SF FILMAKERS READWRITTEN SF?
    Would it help if they knew the genre? How do we get them to learn it? Which
    filmmakers seem to know about it?
  166. THE AGE OF THE FANTASY TV MINI-SERIES
    Gulliver, Odyssey, Merlin, 10TH Kingdom, and the Mists of Avalon have been big successes. Is this a good thing? Will there be a move to genre fantasies?
  167. THE BALONIUM LEVEL IS RISING: SCIENCE IN SF
    How important is good science to SF? The movies don't need it. Does it really have to be plausible, or is good technobabble enough? Is SF all technobabble?
  168. THE CHILD GENIUS IN SF
    Weíve had Will Robinson, and Wesley Crusher, why is this such a common theme? Egotism?
  169. WHAT MADE YOU A SF/FANTASY WRITER?
    When did you know you wanted to write SF? What influenced you to try the career?
  170. WORTH 1000 WORDS?
  171. The importance of Art in SF

  172. FARSCAPE? IS IT THIS MILLENNIUMS B5?
  173. GUEST ON ASTRONOMICON TONIGHT
  174. Rob Sawyer does a little Tonight show panel. This is the time to plug your new book, or tell the world a little about what you are currently doing.

  175. READING
  176. MEET THE PROS PARTY
  177. MASQUERADE JUDGE

 

If there are any other panel ideas that come to mind let us know and we will try to put aside space for them. You can mail your list of panel topics to us at:

THE ROCHESTER FANTASY FANS

P.O. BOX 31701

ROCHESTER, NEW YORK

14603-1701

Or you can e-mail them to us at:

RALSTON@AOL.COM

Let us know the limit of things you want to do each day. Pick as many panels as you like. We will make sure you arenít overworked!

DEADLINE: OCT. 1, 2002