Best Novelette (499 ballots)The Nominees
"The Copenhagen Interpretation" by Paul Cornell (Asimov's, July 2011)
"Fields of Gold" by Rachel Swirsky (Eclipse Four)
"Ray of Light" by Brad R. Torgersen (Analog, December 2011)
"Six Months, Three Days" by Charlie Jane Anders (Tor.com)
"What We Found" by Geoff Ryman (The Magazine of Fantasy & Science Fiction, September/October 2011)
Except for Paul Cornell's story, this year's nominees are also Nebula Awards finalists. It's safe to say that all these stories are, at the very least, good, but the question is whether they're outstanding enough to warrant the nomination (or actually win). Majority of the stories have strong science fiction elements, although I was never keen on genre boundaries (especially when you take into consideration what qualifies as science fiction and what qualifies as fantasy—more so with this year's ballot). Also interesting is how a common theme revolves around relationships.
"The Copenhagen Interpretation" by Paul Cornell (Asimov's, July 2011)
It would be unfair to label Paul Cornell's story as a dark horse entry. It's actually pretty good, and perhaps the most entertaining of all the nominees. It's a mishmash of various sub-genres: soap opera, alternate history, thriller, and of course, science fiction. Cornell also creates a compelling and sympathetic protagonist, and while he's no James Bond, it's evident that there are lines which he won't hesitate to cross. What's interesting in this piece is how Cornell melds the various genres without sacrificing the strength of each.
Is this a good story? Definitely. A Hugo-worthy story? Maybe not for my personal preference, but I wouldn't be disappointed if it won.
"Fields of Gold" by Rachel Swirsky (Eclipse Four)
When we talk about the ability of speculative fiction to take the extreme of a certain situation to highlight the truth of a particular human condition, "Fields of Gold" is an excellent example. Rachel Swirsky successfully portrays holistic, three-dimensional characters, and does so with wonderful technique and style. The arc of this story hinges on empathizing with the protagonist and the various people he encounters—even when they are clearly flawed or eccentric—and what can I say, this is an effective character-driven piece.
There's nothing innovative when it comes to the plot or the style, but this is terrific writing. My runner-up vote.
"Ray of Light" by Brad R. Torgersen (Analog, December 2011)
Nick Mamatas has an essay on writing called "All Pistons Firing" and that best describes "Ray of Light." Make no mistake, this is a competent story, devoid of flaws, but there's also a sense of blandness in being too clean. There are no mistakes in terms of characterization, setting, and technique, but you're looking for something to make it stand out and memorable, and "Ray of Light" lacks that element. Perhaps the conflict was too easily resolved. Perhaps Brad R. Torgersen could have made this piece stand out through style. But as it is, this feels "good enough" and safe rather than a story that's outstanding.
"Six Months, Three Days" by Charlie Jane Anders (Tor.com)
In what seems a high-concept premise (two clairvoyants start dating), Charlie Jane Anders knows how to focus on what matters: the characters. The speculative fiction element exists to enhance the all-too real problems a couple might encounter, and Anders does so with precision, believability, and personality. As far as the craft is concerned, "Six Months, Three Days" is littered with telling details that contribute to the verisimilitude.
(And as an aside, every Filipino who reads this story mentions one of Anders's telling details, Jollibee, even if it's irrelevant to the larger plot; just goes to show how important representation in fiction is. Thank you Charlie Jane Anders.)
While I do read Anders's nonfiction, this is the first time I've read her fiction and it blew me away. Yes, Hugo win please.
"What We Found" by Geoff Ryman (The Magazine of Fantasy & Science Fiction, September/October 2011)
I'm on the fence with "What We Found." On one hand, it is terrific in terms of craft, especially how Geoff Ryman juxtaposes his protagonist's history with his scientific discovery. This then leads you to question why is the narrator telling us his story, and what he hopes to accomplish in light of discovery. The characters are complex and nuanced without having convenient resolutions.
So why the reservation? There's a similarity (and perhaps sharing some of the perils)—although they are not identical and in many ways, this is an improvement due to the way the ending was resolved—to the style employed in Ryman's other nominated story, "Pol Pot's Beautiful Daughter (Fantasy)," although both are admittedly powerful stories. This entry probably requires more on deliberation on my part, but craft-wise, it's effective and gripping.
Other Recommendations:
It's actually difficult for me to identify which stories are novelettes, but here's two from 2011 that were memorable:
"The Summer People" by Kelly Link (Tin House: The Ecstatic): This story ignites both your sense of wonder and creepiness, and Kelly Link successfully portrays the complex relationships of her characters.
"The Projected Girl" by Lavie Tidhar (Naked City): While perhaps not a revolutionary story, Lavie Tidhar hits all the right emotional beats and writes a nostalgic, moving piece.
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