March 25   Phd Data Mining

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I officially finish maternity at the end of this month ie next Tuesday. Can you believe that’s been six months already? I can’t! Except, almost 5 month old baby tries to say differently :)

I’ve been trying to do a regular catch up day of study with Amanda and some weeks I’ve done better at that (either in the actually meeting up or in the getting significant work done) than others. I figured a really easy place to start researching – easy in terms of being able to pick up and put down bite size pieces – was with the data collection. I’ve done a reasonably thorough scramble around our house to find all the Aussie SF (short fiction) we have as a starting point. At the moment, my sample set is going to be Aussie SF because it seems more doable and I’m probably going to be able to better, and more completely, source all the texts. And my thinking was, just work through the piles of mags, collections and anthols that we’ve got in the house as a starting point.

The problem of course is, I’m not yet sure what and how I want to crunch data so I don’t quite know what and how to capture information. I don’t want to have to come back and get something else from all these titles later. And the way I collect all this data now is likely to affect what I can do with it later. It’s very circular. The other issue is, because I can only pick up and put down small bite size pieces, I never really get the chance to sit and think long and hard about it. Other than the thinking I did for the general objectives and broad methodology I outlined in my candidacy proposal. So this means that every time I do sit down to work, I get distracted by possible tangents to veer off on or rabbit holes to dive into. Though probably that would be the case even if I was sitting in an office on campus in silence for hours at a time too.

Yesterday I sat down and managed to work on some old ASIMs. I’m looking at the gender breakdown of publications in SF in Australia, basically. Originally I was just looking at the fiction. Though I had also planned to look at other methods of performance evaluation ie years best round ups (both the fiction chosen and the way the editors view the year in their editorial round ups) and then also the various awards. These two will likely be more general SF rather than Aus SF in isolation (again because the sample set seems more doable). But along the way I realised that I will also need to look at other features in magazines such as the interviews (who conducts them and who do they interview) and also the reviews (again, who reviews whom).

I’m interested in the way we rewrite and reframe the scene – women have always written SF and yet they mostly have also been written out of (or their roles downplayed in) the history. How does that happen? Looking at the books that get attention, the authors who are spoken about, held up as the finest or the core or the genre shapers of our field may give some hint to that. These are the authors we remember and these are the ones that become easy for everyone to then pull out if they suddenly need a list (try it in your head and then see how many women are on those lists). And I realised today, that along with looking at editorials for gender breakdown of who is most discussed or held in esteem, I also need to do the same within interviews and reviews, if necessary. It’s quite fascinating, and well, then quite angry making followed by downright depressing. But not anything we didn’t know or haven’t discussed before. All I’m doing is collecting the data to make the pretty pie charts later.

I like to play games with it like, will the one woman mentioned be Ursula le Guin? And now I’ve got a list of Australian male writers too. I don’t have a sample set big enough yet for that one but I might have some breakdown on who those authors are at some point. My guess is that the Aussie women will be Sussex, Love and Lanagan but we shall see.



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Today’s statistics are for Midnight Echo.

Midnight Echo is according to the website: “the official magazine of the Australian Horror Writers Association. Each issue contains more than 100 pages of horror (or dark) fiction, poetry, art, comics, columns, articles, book releases, and more!”

The editorship is a rotating one. Only the first two issues had female co-editors. Since Issue 2, no woman has been at the helm of Midnight Echo. The magazine has never been solely edited by a woman. In contrast, five issues have been solely edited by men.

The gender breakdown for the prose fiction for all issues of Midnight Echo is:


The average gender breakdown for the two issues coedited by women is 24% female authors to 76% male authors.

The gender breakdown for poetry, nonfiction and interviewees (ie people who were interviewed in the magazine, Note: interviewers were not always listed in the ToCs so have not been computed for this market) are:


Several of the issues feature a comic as it’s done by the same pair, the illustration is separate out from the overall art figures:


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As well as looking at awards stats, I’m also looking at the publishing stats, to place one in the context of the other. Additionally, I’m going to be looking specifically at some case studies as I move further into my PhD. Likely those won’t be Australian presses but the Australian context is within which Twelfth Planet Press sits.

Today’s data then is for Eidolon and Potato Monkey.

Eidolon Magazine was edited by Richard Scriven, Jonathan Strahan and Jeremy G Byrne and then later on by Jonathan Strahan and Jeremy G Byrne. In their debut editorial, this team outlined their vision for the publication:

Eidolon is for you if you are interested in encouraging the development of new writers, if you are passionate about your views on speculative fiction in any media and if you enjoy discussing all of this and more. In short, Eidolon is for people who care about speculative fiction and all its off-shoots.

We are committed to promoting the idea of the “pro-fan”; a person who has a love for some aspect of speculative fiction, be it literary, cinematic, game-related or some other facet, and who strives to extend the boundaries of his perception of that passion; a person who seeks to create, to contribute and to objectively discuss.

Eidolon featured fiction, non fiction, interviews, reviews, artwork and letters from their readers. I thoroughly enjoyed getting absorbed in the discussions in the letters and through these discovered the editorial for Issue 12 which addresses concern over the apparent gender bias in their published fiction. Issue 24 (1997) was a Special Women’s Issue. I would have been interested to compare the gender breakdown pre- and post- this issue but Eidolon closed four volumes later, in 2000 with Issue 30. Nine issues had all male fiction ToCs. None occurred after the special issue.

Here is the overall breakdown of the fiction published in Eidolon by gender:


The breakdown of Nonfiction by gender:

Here I’ve looked at both the reviewers and those they reviewed by gender:


And then done the same for interviewers and those they interviewed:


And the artwork broken down by gender of the artists:


And then finally, the gender of the authors of the letters printed in each issue:


Potato Monkey was edited and published by Ben Payne. It ran for five issues from 2001 to 2007 and featured fiction only. Of the five issues, issue 5 consisted only of fiction written by men. Apart from issue 1, all the cover art was created by women.

This is the breakdown of the fiction in Potato Monkey by gender:


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