Talk Descriptions, Organized by Speaker (count 535)

How do we make a lunar colony pay in the same way colonies on Earth traditionally paid for their creators? Is pure science the way to go? A launching pad for reaching the rest of the solar system? Industrial applications? A mix? If we can't make a permanent human presence on the Moon pay, will it ever be viable in the long-term?

Many SF writers and SF fans are scientists in real life. How do they combine the two? What is doing science for a living really like? Are we all really mad scientists who want to rule the world?

"It must be true, I saw it on the Internet." How has pseudo-science infected popular culture lately? How does this kind of charlatanism interfere with progress and rational discourse? Are there things we can do to counter the untruths that are spread around?

Eventually, the inner solar system will be crowded. Will we explore, exploit, and settle the vicinity of the outer planets? How about comets? The fringes of interstellar space? How? Why?

Good idea? Bad idea? Inevitable whether or not we think it's good or bad? How do you define a weapon when a rock dropped from space can create massive damage?

There are some people who think the slick and easy answers of science fiction have turned people off to the hard and slow progress real space exploration takes. Why did we go to the moon and then turn back?

Forrest J Ackerman talks about his participation in the early history of science fiction Fandom, literature, and films.

Long time fan, writer, editor, agent, and collector Forrest J Ackerman gives a slide show of his fabled collection.

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60 years ago, Los Angeles held its first World Science Fiction Convention. Come here some of the people who were there talk about what it was like and how things have changed, for Fandom, for Worldcons, for Los Angeles, and for them, in the sixty years since Pacificon I.

Has human nature changed through recorded history, or are we the same old apes with new technology?

Why should you care? What's out there? Do you need licenses? If you do it, can you quit your day job?

How are computers changing? What do the advances in micro-technology, superconductivity, graphics, etc. mean to the future of micros, minis, and main frames?

Editors share their "favorite" stories of manuscripts that were a triumph of hope over talent.

The Washington Monthly's Political Animal blogger brings his worldview on politics to the Worldcon and lets us know what he thinks is in store in the decades to come.

Fifty years ago, Godzilla was released in the US. (It was released two years earlier in Japan.) Over the years, Godzilla has gone from giant monster and anti-nuclear message to a heroic warrior, keeping nasty monsters at bay, and back again. In that time, fans have come to love the giant lizard. How has he changed? Which changes were for the better? And where is he headed now?

Well, does it? It seems like 100% of fantasy is set in medieval worlds with wizards and dragons and witches and elves and things. What other kinds of fantasy is there?

To a lot of hard SF readers, fantasy stories are those where the authors don't have to be consistent -- it works because it's magic. But good fantasy is consistent, within each world's own rules. What are the rules and the restrictions for writing a "good" fantasy.

Some writers work in more than one genre. SF. Horror. Mystery. Romance. Westerns. Whatever. Does working in one area influence the way you write in another? Also, some books are in more than one genre. Does that ever work?

Novels seem to always pits good versus evil, the hero/heroine (who must do battle, sacrifice endlessly, travel to the ends of the earth to save the world) and the evil protagonist. Sounds simple. But how do you define what is truly evil? And are your characters black and white or many shades of gray? How bad is the bad guy? Is evil marked by character, action, the enormity of destruction, the totality of deceit, or is it possible that evil is in the perception?

Writing is hard. There's lots of work, lots of thought that goes into every sentence. But no matter how good your story is, how compelling your characters are, if your ending falls flat, so does everything else. How do you make your ending work?

You spend time crafting characters, thinking about who they are, what they want, what they care about. You tell stories about them, lovingly crafted. Now it's time for them to die. How do you do it? And what can happen if you do.

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2001: A Space Odyssey is considered by many one of the greatest science fiction films of all time. Now, being prepared for the 40th anniversary of the original, is a remake for today's generation. Meet some of the filmmakers and hear their plans.

Where are the Extraterrestrials? Why haven't we been contacted? A gold mine for SF ideas, the academic study of this problem has come a long way in the last 10 years. Are we victims of a galactic conspiracy, or is the forest full of wolves?

It's been predicted several times but it still hasn't arrived. What's keeping books around? What are the alternatives? Why aren't they making a louder noise?

Right now robots are pretty much remotely-controlled devices to conduct certain tasks like bomb disposal or mindless repetitive-motion machines for chores like vacuuming rugs. But what will "real" robots be like? Will be Asimov's dutiful three-laws obeying pals or our sneaky lords and masters a la the Magnus comics? The singularity suggests, perhaps, the latter. Or will it be somewhere in between?

See the new, expanded special edition of Free Enterprise, the legendary cult classic about two sci-fi fans who meet their idol William Shatner and find out he's even more screwed up than they are. Starring Eric McCormack and William Shatner as himself, you can watch it in the comfort of fellow geeks just like you. Featuring new scenes and special effects! The new 2 DVD Special Edition was released by Anchor Bay Entertainment in March 2006, but this is the first time to be able to see it projected on the big screen, and, for the very first time, with an introduction and Q&A by the creators themselves, no, not Jackson Roykirk, but writer/producer Mark A. Altman and director/writer Robert Meyer Burnett. See it again for the very first time -- unless, of course, this is your first time.

The legendarily geekiest convention panel of all-time makes its first Worldcon appearance after another SRO appearance at last year's San Diego Comic Con. Ever wonder if the Jupiter 2 could kick the Sulaco's ass? Can the Serenity make mincemeat out of a Klingon D-7 battle cruiser? And will the Yamato ever be able to beat Captain Kirk's Starship Enterprise? There's only one way to find out. Be there or be squarer than you already are.

A lot has to happen before a film is ready for showing. What is the actual filmmaking process that transforms a vague idea into a finished 70mm dolby stereo blockbuster?

A fond look back at 40 years of Star Trek along with a hopeful look forward at what J.J. Abrams may or may not do with the franchise in the coming years.

Not long ago, we were awash in Splatterpunks, Cyberpunks, and even Steampunks. What happened to those SF literary movements? What's the next trend?

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From small press to major publishing houses, science fiction is a popular place to be. What's it take to know the field and to get your books into the stores?

One of science fiction's newest major publishers give a look at their future publications. Meet our authors.

Publishers from different areas of publishing -- a major imprint, a small press, an on-line magazine, a prozine -- compare the similarities and differences in their tasks.

Do editors publish what the readers want to buy or does the field reflect the editors' tastes?

Science fiction has had a moniker of being junk food for the mind; escapist fare only. Is that true? Not all of it is literature but surely some of it must be? Mustn't it? What literary trends can be found? What will withstand the test of time? And does it matter?

Bring your problems. Let's figure out how to solve them.

Today's SF and fantasy films rely heavily on computer generated characters and effects. How can you bring them believably to the stage? Or should you even try?

What books and stories do you remember best from childhood? Our panelists talk about their favorites and ask about yours.

Glitzy, glittery and gaudy techniques to make your costume stand out. Learn materials and basic techniques for adding sparkle, shine and focus to your hall or masquerade costume.

Add variety and distinctiveness with supports, structures, and frameworks. Alter and manipulate your silhouette with corsets, bustles, bustiers, and more.

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Jules Verne's novel begat two motion pictures, a Classics Illustrated comic book, and the world's first atomic-powered submarine: not bad for inspiration. Who's the hero? Professor Aronax? Captain Nemo? Ned? Conseil? Why?

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Science fiction is filled with "alternate histories". But so are history books. "History is written by the victors," wrote Machiavelli. Time does its part for re-writing history, too. Alternate histories abound. Think American Indians were noblemen of the plains who all lived in harmony with the land? Guess again. Then there's Disney's version of Pocahontas. And don't forget Shakespeare's rewriting of Richard III.

An examination of Rudyard Kipling’s poetry as filk lyrics.

Kirk, Spock, Picard, and the rest of Star Fleet in song.

Come share your memories -- happy and sad, funny and really funny -- about Howard DeVore. L.A.con's Fan Guest of Honor may not be with us in person, but we know he's watching. Come celebrate his life with family and friends.

Join Erwin S. “Filthy Pierre” Strauss and Karen Anderson singing from Bruce Pelz’s Filksong Manual

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What defines a "classic"? What are some classic filksongs? How many do you know?

Is there such a thing as "hard" fantasy, like "hard" science fiction? Is it just a matter of research or better world building? What does it take to make a fantasy "hardcore"? Who's writing hard fantasy, what is it, and how does it work?

Young Man Mulligan, Horsetamer's Daughter, Banned from Argo, and more!

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The authors and others involved with L.A.con IV's limited edition anthology, Space Cadets, gather to sign copies of the book.

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Kevin J. Anderson and Brian Herbert talk about continuing the Dune series of novels, working from Frank Herbert's notes and manuscripts, and how the project came about.

Inside you there's a hundred stories, crying to get out. Characters who need to be brought to life. But you still need to eat and pay the rent. What do you have to know and do (besides how to write).

Was a larger-than-life scenery-chewing damn-the-Prime-Directive-full-speed-ahead heroic starship commander the one primary thing responsible for the enduring success of classic Star Trek? Is the absence of such a character why the following Star Trek series all lacked the same punch? Or should there have been more discretion, more consideration before acting? Is Jean Luc Picard the model to follow?

Me, I read e-mail. What do you do? How do you get yourself back to writing?

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Novels seem to always pits good versus evil, the hero/heroine (who must do battle, sacrifice endlessly, travel to the ends of the earth to save the world) and the evil protagonist. Sounds simple. But how do you define what is truly evil? And are your characters black and white or many shades of gray? How bad is the bad guy? Is evil marked by character, action, the enormity of destruction, the totality of deceit, or is it possible that evil is in the perception?

Here are activities that give us great personal pleasure but somehow, down deep inside, we're just a bit ashamed to admit that we like the Smurfs... or bowling... or mud wrestling. Hear people reveal their Guilty Pleasures and why they indulge.

Writing is hard. There's lots of work, lots of thought that goes into every sentence. But no matter how good your story is, how compelling your characters are, if your ending falls flat, so does everything else. How do you make your ending work?

We all know the great detective. He's somehow come to fascinate science fiction authors. There are probably hundreds of Holmesian references throughout science fiction, and some authors have come up with their own version, including Derleth's Solar Pons. What captivates us so about Holmes?

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Does where you write matter? How about whether or not you face a window? Authors will talk about how they set up their writing spaces -- a separate office, the living room couch, the dining room table? -- what's in the room, what they listen to, and what they wear (if they wear anything at all).

Generations of engineers and agronomists have turned California's deserts into lush farmland. Nearly 80% of California's water is used for agriculture. What is the long-term environmental impact of this water diversion and artificial fertility? Are California's farms a triumph of human ingenuity or an unsustainable house of cards? Should industrial countries become net importers of food from more fertile places, or can we rely on an ongoing technological cornucopia to feed the rich nations?

Indoor plumbing led to polio epidemics. Lead in paint and gas poisoned people. To what extent is modern science and technology responsible for figuring out whether or not something that seems good is also going to cause serious problems?

Fandom has had paper fanzines from the beginning. At one point, it seemed like almost every fan at least read these paper fanzines or wrote for them or published one (if only for APAs). But their prominence has been on the wane for many years. Now, blogs are exploding. And fanzines published on the web seem to be increasing. Are these fanzines different or just a different form? What effect will they have on Fandom as a whole?

Are Masquerades, Art Shows, Dealers Rooms, etc. really worth their cost in money and manpower? Or are they just so habitual that cons never think about getting rid of them? What would happen if a con did get rid of them? What would we replace them with?

Like the car manufacturers of the 20th century who tested the safety of their vehicles by crashing them with human "dummies" inside them, we design and build space ships today and do the same tests tomorrow!! The ship will need to travel a specified distance under it’s own power to enter. The Pirate Pilot will either be a raw egg or one filled with jello, previously decorated.

The difficulty of operating a Space Mech can never be underestimated; here we offer the cheapest adventure imaginable pitting Mech-Warrior against Mech-Warrior where YOU are inside and in-control of the Mech using your available weapons to destroy your opponent. Only the most violent will win !!!

Time to get messy and corpse like when the team transform you from a mild-mannered human into a flesh-craving, ship-stealing avatar of death – Zombie Pirates!!! With undead pirates and school kids being the theme, we get pointers on how to act like a zombie from the team. Fake,but REAL looking blood and wounds will be common here - the squeamish need not apply! (Warning–some fake blood may stain. Bring costume that you don’t mind being ripped/torn/distressed and BLOODIED!!!!! We should have some spare tho)

You’ll lose your head if the Quaffle hits it! A Live Game of Qudditch, dressed as Zombies (come to the panel before this one to become undead and bloody!)

Ever had nightmares of running down long corridors away from Dr.Who’s nemesis, praying to find some stairs? This panel will hopefully cure them, as there’s interactive construction - while the panel discuss ways to stop the Daleks we build their preventative measures, and then see if they are up to the task

So! Darth Vader vs Jack Sparrow – you think Darth will win??? We show you how to make light sabres and cutlasses, and then see who has the best swordsmanship skills as we fight on planks.

Yesterday you designed and started making your own spaceship, today we finish building them and then CRASH them!!! Yes, it’s all about destruction now – who’s space ship will perform the test crash into the obstruction WITHOUT splattering it’s "pilot" all over the cockpit, and who’s space ship will make the BIGGEST mess of it’s "pilot"???

We create a game using Lego Pirate ships and Mechs who battle one another.

An opportunity to collect various items made or left over the past two days.

What is the lifespan of the average fan club? How do you define a successful club and what are the pitfalls associated with orchestrated group activities?

Highlights of the British fannish press. Examples will be shown, addresses shared.

Old and young fans discuss what motivates them and present views of fanwriting.

Let's go over the basics, from philosophy to raising capital to gaining recognition from fellow fans, businesses, and governments alike.

It's a dirty job, but somebody's got to do it. And if they didn't, we wouldn't be here. But why do they do it? It can't be the money. There isn't any. Come see con runners from around the country fumble for an answer.

What are your favorites? (Or least favorites?) Our panel will tell you theirs and ask for yours. Have reasons waiting.

Some books have a profound effect on people. Come hear from our panelists which books had a major effect on them and share your own stories.

Is it the community, the gestalt, or the craft?

Richard Lynch is hard at work on his history of SF Fandom in the 1960s. He's got an outline worked out. Come hear about his progress, offer support, information, corrections, etc.

Kurt Busiek, Jeph Loeb/Alfred Miller, Grant Morrison, and others have found radically different ways to retell and re-invent Superman's story. Panelists discuss approaches that add to and detract from the collective myth.

Old and young fans discuss what motivates them and present views of fanwriting.

What is the lifespan of the average fan club? How do you define a successful club and what are the pitfalls associated with orchestrated group activities?

Discussion and appreciation of the lesser-known works of Philip K. Dick. What did you think of "Now Wait for Last Year"?

Recent times have seen an explosion of science fiction and fantasy tales centered in cosmologies and mythologies outside of the North American mainstream. Writers discuss what draws them to these other mythos and what lessons they offer.

How to manage your life as a writer.

Wouldn't it be nice if we had a...? What would happen if our technological dreams came true? If we had transporters or free, unlimited energy? And how would things change if we had them?

We write about alien civilizations, but there are cultures we don't know about among us. One of the ways to write alien cultures is to talk to people in cultures outside that are alien to us.

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A meeting for members of the Science Fiction Writers of America.

What does it take to create "real" fantasy? Are there rules in a universe run by magic? How do you build a fantasy world?

A discussion of science fiction of the period. How was it different from what's out there today? From what came before it? Was it better? What are some of the best examples?

Sure, spelling antidisestablishmentarianism is easy. And those incredibly long latin agglutinative scientific terms are a snap. Now spell "tanstaafl". How about "kzinti"? Try your hand in our science fiction and fantasy spelling bee (or just come watch).

Was a larger-than-life scenery-chewing damn-the-Prime-Directive-full-speed-ahead heroic starship commander the one primary thing responsible for the enduring success of classic Star Trek? Is the absence of such a character why the following Star Trek series all lacked the same punch? Or should there have been more discretion, more consideration before acting? Is Jean Luc Picard the model to follow?

So just what is Lost? Is it a science fiction series? If it's not, what is it? And why do so many people like it?

Which ten books would you want to take with you to a desert island? How about give to someone who says they don't like science fiction or fantasy? Give to a new reader?

Some books have a profound effect on people. Come hear from our panelists which books had a major effect on them and share your own stories.

An exploration of minorities in Science Fiction Fandom.

Was The Incredibles simply the best super-hero movie ever made? So what if it was a comedy? The animation was amazing, and the writing was even better. Why are so many other super-hero movies so much worse?

Some movies have a profound effect on people. Come here from our panelists which movies had a major effect on them and share your own stories.

Superpowers we'll accept as a given. But what effects would there be on society if there really were superheroes? Would government's just let them act? Would near absolute power corrupt? Would the existence of superheroes ultimately bring forth supervillains? What toll (or benefit) would the world see from years or decades of superpowered daring-do?

Why is science fiction so white? The characters seem almost all to be Caucasian or Alien. Is this simply because so many of the writers are white? (And why is that?) Or are there marketing concerns at work? Should we care whether Kimball Kinnison or Teela Brown is Black, White or Hispanic?

A discussion of Star Trek's various incarnations, what worked, what didn't work in each.

We hope for the best. We work for it. But what if things don't work out right? What can go wrong? What will that future be like?

Authors are presented with a character description for a well-known character, the setting of a (different) famous work, and a brief plot description of still another work. Without knowing their sources, they create and tell a story on the fly. After the sources are revealed, the audience votes on who did best. (Think Frodo in a tale set in 1920s New York about a young wizard-in-training who must compete in a great competition of wizards, only to be captured by his arch-nemesis... )

Have we reached a point where SF fans no longer share a common literary background? Until recently, there was a certain body of work that almost every SF fan was familiar. Heinlein, Herbert, Bradbury, Bester, to name a few of the giants. But many SF fans today haven't even heard of them. Instead, they're choosing Mercedes Lackey and David Eddings or Greg Bear and David Brin. We used to share a common body of literature and that sharing drew us together. Is that no longer true? Does this lack of commonality matter?

Twenty years ago, Cyberpunk was "it" in science fiction. It was bold, exciting, full of new ideas. What happened? Or is it still with us in different clothes?

Science fiction has become more permissive over the years, as has most other media and genres. But are we now too violent? Is there anything wrong with violence as a theme? Should I punch out your lights if you disagree?

The vast majority of Young Adult novels being published today are fantasy. Why aren't there more SF themes in Y.A.? What themes aren't being addressed because of the comparative lack of SF Y.A. novels? Are older writers afraid to write about future technology for kids who are immersed in tech that would've been regarded as SF a few decades ago?

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Is it a real possibility or mere science fiction? Many SF novels take something like a world state for granted, as part of the background of their future universe. Yet if one talks about world government as a concrete political goal -- however distant -- people often dismiss it as hopelessly naive and utopian. What is the likelihood of it ever happening?

None of us would be here if we simply kind of liked science fiction or fantasy. We're here because we need to be here, to interact with other people as impassioned as we are. What makes these stories resonate within us? What draws us here?

Are current "mainstream" writers like Neal Stephenson reinventing science fiction? What would you call the fiction appearing in "Wired" and "Mondo 2000"? Is it cross-pollination or merely self-abuse?

Why is the SF backlist disappearing? What does this mean to authors? To booksellers?

With the emergence of authors like Stross, MacLeod, Vinge, Egan, etc., Hard SF is making a comeback. What's brought it back to the fore? Or did it ever really go away?

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It's an accepted truism in critical circles that If your motivation in writing is to promote a political, social, or cultural agenda, you're not going to produce great art. Is that really true? What about the works of Joanna Russ, Octavia Butler, Allen Ginsberg, Phil Ochs, or Neil Young? Is the truism actually false or is there something more to it?

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Has human nature changed through recorded history, or are we the same old apes with new technology?

With all the changes in our world -- political, social, economic, and scientific -- what will it be like for us, as people, to live in the future. What will the human condition be like?

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What makes a book great? Where does the editor's input begin? Where does it end? When does the author have to assert his/her creative authority? Are the relationships between editor and author today like they were years ago?

Going from amateur to professional is a big step. How do you get started? Should you write every day, whether the muse strikes or not? What mistakes shouldn't you make? Writers who have recently broken in will give you their advice today. Editors and others will advise in Part II on Friday.

In the 1950s, the world was agog with the possibilities of space travel and television was no different. Tom Corbett, Space Cadet; Space Patrol; Captain Video; Rocky Jones; and many others filled the airwaves.

In many ways, Space Patrol laid the groundwork for Star Trek. What was it like on the set of a live show where anything could go wrong before millions of viewers - and often did? Jean-Noel Bassior discusses the show's groundbreaking contributions to TV production and how and why it taught many baby boomers life lessons they still can't forget.

Some editors/publishers just don't like what you have to say. Is that censorship? Some don't want to publish anything controversial, to face the potential wrath of the Fundamentalists or the Parent Groups. It's their money; isn't it their choice?

Paying so-called agents a fee to represent them? Calling agents and editors every day to see how they like their novel? That ain't the half of it. Come hear established writers and editors give you a heads up on things you should know better than.

How to break out of that most dreaded prison of creativity: writer's block. Having trouble finishing things? Ego not getting enough strokes? Our panelists will tell you what's worked for them.

Many science fiction magazines include non-fiction pieces about science fiction. There are books galore that talk about the field or about individual authors. How do you write non-fiction about science fiction? How do you get into the market? Just what is the market and how do you pitch pieces?

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You've come up with the idea, worked out the story. Maybe you've written the entire novel. Just one thing left to do. Sell it. There's little harder than writing that synopsis. How long should it be? How hard should you sell? Just what will it take to get that agent, that editor, to want to read your work or to offer you a contract to write it?

Fans interested in the traditional martial art of Shotokan Karate are invited to come participate in this workshop that teaches the articulation of motion and physical principles behind simple blocks, punches, and kicks. The physical demands are very low, at the level of low-impact aerobics, and the safety of the participants will be ensured by no sparring or physical contact. Participants are asked to come in loose-fitting clothes.

Perpetual motion machines, converting water into gasoline, and the Dean drive. Famous scientific frauds all. But what are some others? And how do you distinguish a real scientific breakthrough from flummery?

Authors are presented with a character description for a well-known character, the setting of a (different) famous work, and a brief plot description of still another work. Without knowing their sources, they create and tell a story on the fly. After the sources are revealed, the audience votes on who did best. (Think Frodo in a tale set in 1920s New York about a young wizard-in-training who must compete in a great competition of wizards, only to be captured by his arch-nemesis... )

Often the difference between an amateur writer and a professional is that the pro knows how to rewrite and the amateur thinks he got it right the first time.

We're always hearing the science fiction is a literature of ideas. And that this or that was a great idea. What just didn't work? What seemed like a good idea at the time but...

An arrangement of convenience? How can we define the process, and what does each partner bring to it?

There's a time and place for everything. Or is there? Does humor have a place in modern fiction? Can there ever be too much?

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Come and hear stories about edits which went above and beyond clarity and reason. Writers discuss different editing styles they've encountered and talk about some of the good and bad experiences they've had with editors (names will be changed to protect the innocent).

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Twenty years ago, Cyberpunk was "it" in science fiction. It was bold, exciting, full of new ideas. What happened? Or is it still with us in different clothes?

John Varley said "We all love after-the-bomb stories. If we didn't, why would there be so many of them?" Why do we all love them? During the Cold War, the threat of nuclear annihilation was very real; today, the world is a different place, but the threat of annihilation is once again very real. Has the sub-genre changed? How are 21st Century post-apocalyptic stories different from those written during the Cold War era?

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An exploration of minorities in Science Fiction, both the writers and their characters.

Nominees and presenters should try to find 15-30 minutes between noon and 4:00 pm on Saturday, the day of the ceremony, to familiarize themselves with the stage, the paths they may need to walk, etc. It's better to do this while the lights are on.

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No, he didn't write any but he influenced a lot. Writers talk about how Shakespeare's work influence them and their writing.

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Bear, Benford, Brin, and Vernor Vinge talk about The Bullets You Don't Hear. Which ones will get us, and why worry?

It's a game. No, it's a lesson in science fiction art history. Wait! You're both right! Come see a show of cover art by a variety of top artists from today and the past. Try to identify the artist. Hear why our panel of "experts" is sure it's by Michael Whalen or Richard Powers or Virgil Finlay.

Sure, Verne was before him and there were others around the same time, but the popularity and acceptance of his "scientific romances" makes a strong case for his being the father of the form. Come hear about The War of the Worlds, The Time Machine, and First Men in the Moon, and about his lesser-known works like The War in the Air and Tono Bungay.

SF once was primarily a written medium which inspired countless young people to seek careers as engineers, scientists, and astronauts at NASA and in the aerospace industry. Today, SF covers a broad range of media, and many of its most well-known incarnations -- e.g. Star Wars -- present the visual window-dressing of science fiction without attempting to ground it in anything resembling science fact. Does contemporary science fiction still inspire young people to have science and engineering careers?

Some people feel that "seeing all the rivets" is what makes science fiction good. But does it make Hard SF too stiff? Are there interesting characters in Hard SF books? Can they have the action of an old-fashioned sword-and-starship swashbuckler and still be good?

Over the last few years, blogging has exploded. Not just for geeks anymore, even commercial sites now frequently have blogs. There are blogs on every subject and the media has started using blogs not just as marketing tools but as sources for news stories. Vox populi and all that but is this a good thing?

Animated science fiction on U.S. television goes back to Colonel Bleep and Tom Terrific (both 1957) and The Jetsons (1962). What are the unique aspects of creating and writing science fiction for animation? What's around today and what's coming in the future?

Authors are presented with a character description for a well-known character, the setting of a (different) famous work, and a brief plot description of still another work. Without knowing their sources, they create and tell a story on the fly. After the sources are revealed, the audience votes on who did best. (Think Frodo in a tale set in 1920s New York about a young wizard-in-training who must compete in a great competition of wizards, only to be captured by his arch-nemesis... )

Going from amateur to professional is a big step. How do you get started? Should you write every day, whether the muse strikes or not? What mistakes shouldn't you make? Writers who have recently broken in will give you their advice today. Editors and others will advise in Part II on Friday.

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What books and stories do you remember best from childhood? Our panelists talk about their favorites and ask about yours.

Australian authors and fans talk about the works being generated down under and how they differ -- if at all -- from what's created in the US and elsewhere.

Lots of science fiction writers also write mysteries: Vance, Brackett, Kuttner, Boucher. Some, like Niven, have written science fiction mysteries. Is there something inherently linking the two genres or is it just wide-ranging tastes and interests?

Some movies have a profound effect on people. Come here from our panelists which movies had a major effect on them and share your own stories.

What makes a bo