Author Archive

Uncanny Magazine Staff News! Naomi Day Is Now the Senior Assistant Editor, Meg Elison Is the New Nonfiction Editor, and Monte Lin Is the New Assistant Editor!

Tremendous news, Space Unicorns!!!

We have THREE Uncanny Magazine staff announcements!

Uncanny Magazine is thrilled to announce that Meg Elison will be the new Uncanny Magazine Nonfiction Editor!!! The position was previously held by Elsa Sjunneson, who stepped down after Uncanny Magazine Issue 42 to focus on other career opportunities. Uncanny once again thanks Elsa for her phenomenal work since taking over as Nonfiction Editor with issue 32.

Meg Elison is a science fiction author and feminist essayist. Her debut, The Book of the Unnamed Midwife, won the 2014 Philip K. Dick award. She is a Hugo, Nebula, and Otherwise awards finalist. In 2020, she published her first collection, Big Girl with PM Press, containing the Locus Award-winning novelette, The Pill. Elison’s first young adult novel, Find Layla was published in 2020 by Skyscape. Her thriller, Number One Fan, will be released by Mira Books in 2022. Meg has been published in McSweeney’s, Fantasy & Science Fiction, Fangoria, Uncanny, Lightspeed, Nightmare, and many other places. Elison is a high school dropout and a graduate of UC Berkeley.

Meg has the experience, preparedness, communication style, and vison for the position. We are certain that she will continue Uncanny’s tradition of publishing provocative, thoughtful, passionate essays. MEG WILL BE PHENOMENAL!!

Uncanny Magazine is also thrilled to announce that current Assistant Editor Naomi Day is being promoted to the newly created position of Senior Assistant Editor! Naomi started as Uncanny Magazine’s Assistant Editor with issue 37 and has done a fabulous job.

Naomi Day is a queer Black woman who enjoys interrogating the strange ways her mixed-race experience has shaped the way she moves through the world. She primarily writes short Afro-centric futurist fiction, and her work has appeared in Black Warrior Review and The Seventh Wave. She is part of the Clarion West class of 2020/22. She considers herself a lifelong student and much prefers the nomadic life when possible, finding home in cities from Seattle to London.

Naomi brings a great deal of passion and organization, and has become an integral part of Team Uncanny. We’re very excited about her taking on larger duties at Uncanny! NAOMI WILL CONTINUE TO BE SPECTACULAR!!!

Finally, Uncanny Magazine is thrilled to announce that Monte Lin will be the new Uncanny Magazine Assistant Editor!!!

While being rained on adjacent to Portland, Oregon, Monte Lin edits and plays tabletop roleplaying games and writes short stories. Clarion West got him to write about dying universes, dreaming mountains, and singularities made of anxieties. He can be found tweeting Doctor Who news, Asian American diaspora discourse, and his board game losses at @Monte_Lin.

Monte’s thoughtfulness and experience makes us believe he will be a great addition to Uncanny‘s staff in Naomi’s former position. We can’t wait to see what he will do on Team Uncanny. MONTE WILL BE FABULOUS!!!

We’re thrilled about the staff going forward into Uncanny Magazine’s eighth year. We think they will all do fantastic things, and this is going to be one of the best years ever for Uncanny Magazine!


Uncanny Magazine Issue 42 Cover and Table of Contents!


All of the content will be available in the eBook version on the day of release.

The free online content will be released in 2 stages- half on day of release and half on October 5.

Don’t forget eBook Subscriptions to Uncanny Magazine are available from Weightless Books and Amazon Kindle, and you can support us on our Patreon!

Uncanny Magazine Issue 42 Table of Contents:

The Sun Temple by Julie Dillon

“The Uncanny Valley” by Lynne M. Thomas and Michael Damian Thomas
“Imagining Futures: So Long, and Thanks for All the Fish” by Elsa Sjunneson

“Mulberry and Owl” by Aliette de Bodard (9/7)
“On a Branch Floating Down the River, a Wren Is Singing” by Betsy Aoki (9/7)
“Onward” by Bonnie Jo Stufflebeam (9/7)

“If the Martians Have Magic” by P. Djèlí Clark (10/5)
“Down in the Aspen Hollow” by Kristiana Willsey (10/5)
“Six Fictions About Unicorns” by Rachael K. Jones (10/5)
“The Giants of the Violet Sea” by Eugenia Triantafyllou (10/5)

“Suddenly Sci-Fi: When Real Life Turns Unreal” by Sarah Kuhn (9/7)
“Jodie Whittaker’s Thirteenth Doctor Is a Space Unicorn (And We’re Going to Miss Her When She’s Gone)” by Tansy Rayner Roberts (9/7)

“Expanding Our Empathy Sphere Using F&SF, a History” by Ada Palmer (10/5)
“Humour, Genre & the One True Quest for a Missing Pillar” by Shiv Ramdas (10/5)

“amorous advice for the ocean-oriented” by Chiara Situmorang (9/7)
“The Captain Flies” by Avi Silver (9/7)

“Áhàméfùla” by Uche Ogbuji (10/5)
“Map-Making” by Kristian Macaron (10/5)

Bonnie Jo Stufflebeam interviewed by Caroline M. Yoachim (9/7)

Eugenia Triantafyllou interviewed by Caroline M. Yoachim (10/5)


Episode 42A (9/7): Editors’ Introduction, “Mulberry and Owl” by Aliette de Bodard, as read by Joy Piedmont, “The Captain Flies” by Avi Silver, as read by Erika Ensign, and Lynne M. Thomas interviewing Aliette de Bodard.

Episode 42B (10/5): Editors’ Introduction, “If the Martians Have Magic” by P. Djèlí Clark, as read by Matt Peters, “Map-Making” by Kristian Macaron, as read by Erika Ensign, and Lynne M. Thomas interviewing P. Djèlí Clark.

“Metal Like Blood in the Dark” by T. Kingfisher Is a 2021 WSFA Small Press Award Finalist!

Fabulous news, Space Unicorns! “Metal Like Blood in the Dark” by T. Kingfisher is a 2021 WSFA Small Press Award Finalist! Congratulations to Ursula and to all of the finalists!

From their website:

The award honors the efforts of small press publishers in providing a critical venue for short fiction in the area of speculative fiction.  The award showcases the best original short fiction published by small presses in the previous year (2020). An unusual feature of the selection process is that all voting is done with the identity of the author (and publisher) hidden so that the final choice is based solely on the quality of the story.

The winner is chosen by the members of the Washington Science Fiction

Association ( and will be presented at their annual convention, Capclave (, held on October 1-3, 2021 at the Rockville Hilton, Rockville, MD.

Two Uncanny Magazine Stories and the Thomases Are World Fantasy Award Finalists!

Excellent award news, Space Unicorns!

The World Fantasy Award finalists have been announced!  “The Nine Scents of Sorrow” by Jordan Taylor and “My Country Is a Ghost” by Eugenia Triantafyllou are finalists for the Best Short Fiction World Fantasy Award! Also, Editors-in-Chief Lynne M. Thomas and Michael Damian Thomas are finalists for the Special Award–Non-Professional World Fantasy Award for their Uncanny Magazine work!  We are thrilled and honored! Congratulations to Jordan, Eugenia, and all of the finalists!

The Sycamore and the Sybil by Alix E. Harrow Is a 2021 Eugie Award Finalist!

Fabulous news, Space Unicorns! “The Sycamore and the Sybil” by Alix E. Harrow is a 2021 Eugie Award Finalist! Congratulations to Alix and to all of the finalists!

From their website:

The Eugie Foster Memorial Award for Short Fiction (or Eugie Award) celebrates the best in innovative fiction. This annual award is presented at Dragon Con, the nation’s largest fan-run convention. Starting with the 2020, we will add a video presentation of the award online, along with a reading of a section of each finalist.

The Eugie Award honors stories that are irreplaceable, that inspire, enlighten, and entertain. We will be looking for stories that are beautiful, thoughtful, and passionate, and change us and the field. The recipient is a story that is unique and will become essential to speculative fiction readers.

Ken Liu’s “50 Things Every AI Working with Humans Should Know” Is a Sturgeon Award Finalist!

Fabulous news, Space Unicorns! Ken Liu’s “50 Things Every AI Working with Humans Should Know” is a Sturgeon Memorial Award finalist! Congratulations to Ken and all of the finalists!

Press release below:

LAWRENCE, KS – 5 July, 2021
for immediate release

This year’s finalists for the Theodore Sturgeon Memorial Award for the best short science fiction story have been selected, announced Christopher McKitterick, Director of the Gunn Center for the Study of Science Fiction. The winner of the award will be announced online later this summer.

2021 Finalists for the Theodore A. Sturgeon Memorial Award

“If You Take My Meaning,” Charlie Jane Anders., Feb 2020.
“An Important Failure,” Rebecca Campbell. Clarkesworld, Aug 2020
“The Translator, at Low Tide,” Vajra Chandrasekera. Clarkesworld, May 2020.
“The Pill,” Meg Elison. Big Girl, June 2020.
“The Mermaid Astronaut,” Yoon Ha Lee. Beneath Ceaseless Skies, Feb 2020.
“50 Things Every AI Working With Humans Should Know,” Ken Liu. Uncanny Magazine, Nov 2020.
“Yellow and the Perception of Reality,” Maureen McHugh., July 2020.
“A Mastery of German,” Marian Denise Moore. Dominion: An Anthology of Speculative Fiction from Africa and the African Diaspora, Aug 2020.
“Ife-Iyoku, the Tale of Imadeyunuagbon,” Oghenechovwe Donald Ekpeki. Dominion: An Anthology of Speculative Fiction from Africa and the African Diaspora, Aug 2020.
“A Guide for Working Breeds,” Vina Jie-Min Prasad., March 2020.
“AirBody,” Sameem Siddiqui. Clarkesworld, April 2020.

The Theodore Sturgeon Memorial Award recognizes the best science fiction short story of each year. It was established in 1987 by James Gunn, Founding Director of the Center for the Study of Science Fiction at KU, and the heirs of Theodore Sturgeon, including his partner Jayne Engelhart Tannehill and Sturgeon’s children, as an appropriate memorial to one of the great short-story writers in a field distinguished by its short fiction.


Uncanny Magazine Issue 41 Cover and Table of Contents!


All of the content will be available in the eBook version on the day of release.

The free online content will be released in 2 stages- half on day of release and half on August 3.

Don’t forget eBook Subscriptions to Uncanny Magazine are available from Weightless Books and Amazon Kindle, and you can support us on our Patreon!

The Uncanny Magazine Issue 41 Cover by Alexa Sharpe. It depicts a brown-skinned elf with flowing blue-black hair and a voluptuous white dress, against a background of flowing grasses. The names of the contributors and the words "Uncanny, July/August 2021, Issue 41", are on the image.

Uncanny Magazine Issue 41 Table of Contents:

Seelie Springs by Alexa Sharpe

“The Uncanny Valley” by Lynne M. Thomas & Michael Damian Thomas
“Imagining Futures: Reading to a Better World” by Elsa Sjunneson

“The Wishing Pool” by Tananarive Due (7/6)
“The Graveyard” by Eleanor Arnason (7/6)
“Diamond Cuts” by Shaoni C. White (7/6)

“Presque vue” by Tochi Onyebuchi (8/3)
“Immortal Coil” by Ellen Kushner (8/3)
“From the Archives of the Museum of Eerie Skins: An Account” by C. S. E. Cooney (8/3)

“The Chameleon’s Gloves” by Yoon Ha Lee (8/3)

“Through a Thousand Eyes” by Nisi Shawl (7/6)
“The Necessity of Slavery Stories” by Troy L. Wiggins (7/6)

“The Bad Dad Redemption Arc Needs to Die” by Nino Cipri (8/3)
“WWXD: A Warrior’s Path of Reflection and Redemption” by C.L. Clark (8/3)

“Sonnet for the Aglæcwif” by Minal Hajratwala (7/6)
“Hitobashira” by Betsy Aoki (7/6)

“After The Tower Falls, Death Gives Advice” by Ali Trotta (8/3)
“Radioactivity” by Octavia Cade (8/3)

Eleanor Arnason interviewed by Caroline M. Yoachim (7/6)

C. S. E. Cooney interviewed by Caroline M. Yoachim (8/3)


Episode 41A (7/6): Editors’ Introduction, “The Wishing Pool” by Tananarive Due, as read by Matt Peters, “Sonnet for the Aglæcwif” by Minal Hajratwala, as read by Joy Piedmont, and Lynne M. Thomas interviewing Tananarive Due.

Episode 41B (8/3): Editors’ Introduction, “Presque vue” by Tochi Onyebuchi, as read by Matt Peters, “Radioactivity” by Octavia Cade, as read by Erika Ensign, and Lynne M. Thomas interviewing  Tochi Onyebuchi.

Uncanny Magazine Is Seeking a Nonfiction Editor!

And now for the good news, Space Unicorns!

We’re seeking to fill the Nonfiction Editor position with Uncanny Magazine, and we STRONGLY encourage BIPOC, Disabled, and LGBTQIA+ folks to apply! The position will begin in August 2021, and will run for six issues/a year with possibility for renewal. There is a modest stipend for this position. 

We’re looking for someone with a deep love and knowledge of science fiction and fantasy, and some experience in editorial work and publishing. The Nonfiction Editor position will allow opportunities to participate in the daily operations of running a multi-time Hugo Award-winning online bimonthly publication in the SF/F field. The Nonfiction Editor works closely with the Editors-in-Chief, and the primary tasks of the Nonfiction Editor include:

  1. Brainstorming: creating lists of possible essay topics and potential essayists with the Editors-in-Chief that might be of interest to Uncanny Magazine’s readers.
  2. Soliciting and commissioning: approaching potential essayists and discussing possible essay topics. The Nonfiction Editor is responsible for soliciting 3-4 essays per issue. 
  3. Editing: working with the essayists on developmental and line edits, and making sure the final essays are with the Editors-in-Chief by each issue’s deadlines.
  4. Promotion: signal boosting essays as they are released.
  5. Other duties as assigned, not to exceed 10% of total time allotted.

The Nonfiction Editor position will require roughly 15-20 hours per month. It is not location-dependent; communication and tasks will be done primarily online via email, Slack, Google Drive, and Zoom or Google Meetings.

Prior experience with nonfiction editing is greatly beneficial but not required. Training on Uncanny’s editorial style and philosophies will occur in formal sessions, and informally on the job.

Applications for the Nonfiction Editor position will be open from Monday,  June 28 through Monday,  July 19. Please submit a brief resume and short personal statement (up to 450 words) to uncanny [@] with “Uncanny Nonfiction Editor” in the subject line.

Good luck, Space Unicorns!

Uncanny Magazine Is Saying Goodbye to Nonfiction Editor Elsa Sjunneson

Bittersweet news, Space Unicorns. Nonfiction Editor Elsa Sjunneson has decided to move on from her Uncanny editorial duties at the end of Uncanny Magazine Year 7 (Issue #42). We can’t overstate how important Elsa has been to Uncanny. Elsa started with us as the guest Co-Editor-in-Chief (with Dominik Parisien) and Nonfiction Editor of our Disabled People Destroy Science Fiction special issue. For her work on that issue, Elsa received numerous awards. She returned later to become our full-time Nonfiction Editor with Uncanny Magazine #32. We really can’t say enough great things about Elsa and what she did to make Uncanny what it is today. We know Elsa is going to do more fabulous things in the future. (Check out Elsa Sjunneson’s upcoming memoir Being Seen! It will be released on October 5, 2021!)


See the next post for some good news! 

How Online Magazines Changed the World (By Putting the World In Them)– A Guest Post by Lavie Tidhar

I started writing fiction on the cusp of change. A friend explained to me that you can write short stories and submit them to magazines. I never actually realised that before! So I did that—a fatal decision, because once I started I never stopped. That first rejection was exhilarating! The first sale even more so.

There was only one problem. The major magazines were all in print, in the US. To submit, you had to print out the manuscript, enclose a self-addressed envelope (for the inevitable rejection slip) and go to the post office to ask for something called International Reply Coupons, or IRCs, which inevitably caused confusion for the post office employees until they found one finally under some paperclips in a random drawer.

It was expensive, time-consuming, and ultimately pointless, because I think in all the time I did that, I never once sold a story.

At the same time, however, online magazines began to appear.

They were not in any way respectable. They weren’t considered for awards, it wasn’t clear who read them, and they sometimes operated a bit like nerdy outlaws. They were looked down on by the SF readers of the time—if they were aware of them at all.

But the online magazines accepted e-mail submissions, and were available to anyone in the world with Internet access. It seemed to me those places were open to fiction that the establishment of the time wasn’t. As a writer trying to write fiction based on my own, somewhat curious background, writing in English as my second language, it felt to me that the traditional editors just didn’t know what to do with me. The online magazines, however, published me. So eventually I made the decision to never submit a story by post again.

Today, of course, the online magazines dominate. Look at any award shortlist and it is filled with online stories. But back then you were casting stories into the dark. Now, when the last print magazine has finally and reluctantly switched to e-mail submissions, I have been published in the print magazines I only dreamed of back then. But now, ironically, the print stories seldom get recognition!

Back then I didn’t care one way or the other. I was getting published, and those online magazines were gradually changing the face of science fiction. The ease of access democratised the field. It opened science fiction up to voices from outside the US, from outside the Anglophone world entirely. New writers could submit their stories wherever they were in the world. And these new editors recognised their value. Those stories, those authors, began to get published.

The field of short fiction is so vital to science fiction. It is where the new, the exciting, the cutting edge lies. Now it is filled to the brim with international voices. But even ten years ago this was the exception to the rule.

I never set out to promote international SF as an altruistic endeavor. It was purely selfish—it occurred to me that no one else was going to champion me and voices like me, so I set out to do it myself. I edited the first Apex Book of World SF anthology, and then launched a website to promote it, and that website—The World SF Blog—ended up becoming a sort of magazine itself, and published original fiction by writers who now have “award winner” or “best-selling author” in front of their names—Aliette de Bodard, Silvia Moreno-Garcia, Zen Cho…

Talent is easy to spot, after all. It just took the publishing industry far too long to realise this.

We all started online, because online was where it was.

Many of the old online magazines disappeared, of course. The oldest and most venerable remaining is probably Strange Horizons. Clarkesworld popped up in 2006, and I know this because I was in the very first issue—the one no one ever read! Apex started in print, went online, and on the way allowed me to do not just five World SF anthologies but also a special issue of the magazine back in 2012—another first.

As I came to edit The Best of World SF, it was to the online magazines that I turned for what is new and exciting, the state-of-the-art of SF where it is. One of those fun stories is right here on Uncanny“Fandom for Robots” by Vina Jie-Min Prasad.

This is not to take away from the print magazines. Print remains important, and I would argue that its permanence of paper is essential to the long-term record of the genre. If there is one thing I am proud of about The Best of World SF is that it gives many online stories that permanent home in a durable hardcover, a snapshot and a record of SF where it is now. I hope it sits on shelves for many years to come.

With print magazines, both Analog and F&SF have new editors and a new openness to international fiction, while Asimov’s continue to publish good works (and I’ve been published in all three now, which makes younger-me very happy). And other Best Of anthologies continue to bridge the gap between digital and physical—and are now filled with international voices where once there were none.

Somehow, those early online magazines—virtually-underground, disreputable, and mostly ignored—changed science fiction forever. They made it diverse, they made it global—and by doing so, they ultimately made it better.

(U.S. readers can pre-order The Best of World SF: Volume 1, edited by Lavie Tidhar, from Head of Zeus here!)

Lavie Tidhar is the World Fantasy Award-winning author of Osama (2011), The Violent Century (2013), the Jerwood Fiction Uncovered Prize-winning A Man Lies Dreaming (2014), and the Campbell Award-winning Central Station (2016), in addition to many other works and several other awards. His latest novels are the Locus Award nominated Unholy Land (2018) and debut children’s novel Candy (2018). He works across genres, combining detective and thriller modes with poetry, science fiction and historical and autobiographical material. His work has been compared to that of Philip K. Dick by the Guardian and the Financial Times, and to Kurt Vonnegut’s by Locus.