Stanley Schmidt was born in Cincinnati and graduated from the University of Cincinnati in 1966. He began selling stories while a graduate student at Case Western Reserve University, where he completed his Ph.D. in physics in 1969. He continued freelancing while an assistant professor at Heidelberg College in Ohio, teaching physics, astronomy, science fiction, and other oddities. (He was introduced to his wife, Joyce, by a serpent while teaching field biology in a place vaguely resembling that well-known garden.) He has contributed numerous stories and articles to original anthologies and magazines including Analog, Asimov's, Fantasy & Science Fiction, Rigel, The Twilight Zone, Alfred Hitchcock's Mystery Magazine, American Journal of Physics, Camping Journal, Writer's Digest, and The Writer. He has edited or coedited about a dozen anthologies. Since 1978, as editor of Analog Science Fiction and Fact, he has been nominated 27 times for the Hugo award for Best Professional Editor. He is a member of the Board of Advisers for the National Space Society and the Science Fiction Museum and Hall of Fame, and has been an invited speaker at national meetings of those organizations, the American Institute of Aeronautics and Astronautics, and the American Association of Physics Teachers, as well as numerous museums and universities. In his writing and editing he draws on a varied background including extensive experience as a musician, photographer, traveler, naturalist, outdoorsman, pilot, and linguist. Most of these influences have left traces in his five novels and short fiction. His nonfiction includes the book Aliens and Alien Societies: A Writer's Guide to Creating Extraterrestrial Life-Forms and hundreds of Analog editorials, some of them collected in Which Way to the Future? He was Guest of Honor at BucConeer, the 1998 World Science Fiction Convention in Baltimore, and has been a Nebula and Hugo award nominee for his fiction.
Recently published - Argonaut Which Way to the Future?
|Fri||1400||How Much Science Should SF Contain?||Hugo Gernsback created SF to teach science. Should this be a foundational idea for SF or is it a horrible error? Why do we care whether the science is right even when the story is good? Much of SF seems to get along quite nicely with no discernable reality in its science althogh there is the occasional piece accorded masterpiece status *because* of its science content. Is the issue the technical details or is it a general approach to the universe that is important?||Chad ORZEL, David M. SILVER, Gregory BENFORD, Stanley SCHMIDT|
|Sat||1000||Research 101||Writers must know what they are writing about: or must they? How much research is enough? Must you know and identify your target audience (hard science/trek/fantasy) first? Is there a minimum amount of science a SF author needs to know.||Alma ALEXANDER, Jon COURTENAY GRIMWOOD, Stanley SCHMIDT|
|Sat||1200||Location,Location,Location: How Setting Influences and Structures the Story||How do the arc of the Ringworld, the hills of the Shire, the plazas of Trantor shape their stories' characters and events? Does local color bewitch or bore the reader? (Does it matter? -- why?) Are real places easier to evoke than imaginary ones? Which genre settings can't you forget?||David D. LEVINE, Delia SHERMAN, Lillian CSERNICA, Stanley SCHMIDT|
|Sun||1000||Gibberish||Developing a language system involves more than just removing the vast majority of the vowels in your characters' names. What distinguishes a good language system in fiction from a bad one?||Lawrence M. SCHOEN, Stanley SCHMIDT, Mary TURZILLO|