Got it? Okay!
1. I’m both super pleased with the list of winners and even more pleased that the ballot could have fallen differently and that in nearly all cases I still would have been happy. There was so much great work and so many great people celebrated this year that it was almost impossible to go wrong (there were a couple of troll attempts in there too, but they were never really a factor in the actual finalist voting. I’ll talk more about that in a bit).
2. I discovered that The Dispatcher was number seven in terms of the nomination tally for the Novella category, a category with six finalist spots. How do I feel about that? Pretty darn good. The Dispatcher was in audio form for the entire nomination period, which is not the usual format for works considered for the Hugo ballot. So I think it’s pretty cool it got close. Also, you know. It was a finalist for the Locus and three separate Audie awards (winning the Best Original Work category), so it was certainly honored enough. And I happen to think that all the finalists in the Hugo category were excellent. No complaints!
3. And, why yes, women won in nearly every category. Good for them. Their work certainly deserved it.
4. This was the first year nominations for the finalist ballot were run through the “E Pluribus Hugo” process, a complicated procedure involving fractional votes that aimed specifically to blunt the effect of “slating,” i.e., jackholes trying to swamp the ballot via lockstep nominations. It’s also the first year of “5/6,” in which people could nominate five people/works in each category but six people/works were on the final ballot — again, to minimize the effects of slating.
And how did it work? For the purposes of defeating slating — pretty well! To the extent that the jackholes who have been slating work for the last few years were able to get on the ballot at all, they were confined to one finalist out of six. All those jerkhole-related finalists were dealt with appropriately in the voting — most appearing below “no award” (i.e., we’d rather not give an award than have it given to this finalist). The signal-to-noise ratio of the Hugo ballot was much closer to the mean this year than it’s been in the last few, and that’s a good thing.
Which is not to say EPH in particular doesn’t have its issues — there were people/works this year that would have gotten on the ballot under the old system that missed out in this one (not The Dispatcher, I note, which would have been in the #7 position in either system). And I think some people noted that the jerkhole movement was muted this year in any event, so factoring for it might not even have been necessary — there was a motion at the WSFS business meeting to have EPS lifted next year.
My own thinking on this is that it was muted because the jerkholes knew the Hugos were that much harder to game, and given the scope of the slating nonsense — which lingered over four years of Hugo voting — maybe dropping anti-slating measures after just a year is a little precipitate. It does appear that others agreed with me on that, since the motion to suspend it for next year failed. Good.
5. Speaking of the jackholes, I did like that when when voting process sorted everything down, the chief jackhole got outvoted by “no award” in his category by a ratio of about 12:1. That seems about right to me. Aaaaand that’s all the mental energy I’m expending on that dude.
6. Overall, a very fine year for the Hugos. Congratulations to all! Let’s do this again next year.