Who is E. Lily Yu. How did she become a renowned science fiction and fantasy author. What are her notable works and achievements. How does she approach writing across different genres and mediums.
The Rise of E. Lily Yu in Speculative Fiction
E. Lily Yu burst onto the science fiction and fantasy scene in 2011 with her short story “The Cartographer Wasps and the Anarchist Bees,” published in Clarkesworld Magazine. This single story catapulted her into the spotlight, earning nominations for prestigious awards including the Hugo, Nebula, World Fantasy, and Locus Awards. The following year, Yu won the Astounding Award for Best New Writer, cementing her place as a rising star in the genre.
Yu’s educational background is as impressive as her literary debut. She earned her A.B. at Princeton University before pursuing an M.A. at Cornell. Her commitment to honing her craft led her to attend the Sewanee Writers’ Conference as a Tennessee Williams Scholar and later, the renowned Clarion West Writers Workshop.
A Prolific and Versatile Writer
Since her breakout story, Yu has published approximately thirty stories across a wide range of venues. Her work has appeared in diverse publications such as Cicada, McSweeney’s, Tor.com, Boston Review, Hazlitt, Terraform, and The Magazine of Fantasy & Science Fiction. This breadth of publication speaks to Yu’s versatility as a writer and her ability to adapt her style to different markets and audiences.
Yu’s stories frequently appear in Year’s Best anthologies, a testament to the consistent quality and impact of her work. Her reputation in the literary community is built on several key factors:
- Boundary-breaking fiction that challenges genre conventions
- Exquisite prose that captivates readers
- Thorough research that lends authenticity to her narratives
Beyond the Boundaries of Genre
One of Yu’s most striking characteristics as a writer is her refusal to be limited by genre or medium. Her creative output spans a remarkable range:
- Poems
- Plays
- Novels
- Essays
- Short stories
- Songs
- Video game narratives
This versatility allows Yu to explore different aspects of storytelling and to push the boundaries of her craft. Her work on video games such as Destiny and Destiny 2 demonstrates her ability to adapt her storytelling skills to interactive media, engaging players in immersive narrative experiences.
Innovative Approaches to Literature and Art
Yu’s willingness to experiment with form and medium is evident in her 2015 story “Woman at Exhibition,” published in Uncanny Magazine. This piece transcended the boundaries of traditional storytelling by becoming part of the Discenza-Straub exhibition at the Contemporary Jewish Museum in San Francisco. By integrating her narrative into a visual art context, Yu demonstrated the potential for literature to interact with other art forms in meaningful ways.
Further showcasing her innovative approach to storytelling, Yu has shared her expertise by teaching an Interactive Fiction seminar for Clarion West. This engagement with emerging forms of narrative highlights her forward-thinking approach to the craft of writing and her commitment to exploring new possibilities in storytelling.
How does E. Lily Yu’s diverse creative output contribute to her development as a writer?
Yu’s exploration of various genres and mediums allows her to develop a unique voice that transcends traditional boundaries. By working across different formats, she gains insights into storytelling techniques that can be applied innovatively across her body of work. This versatility not only keeps her creative process fresh but also enables her to reach diverse audiences and tackle complex themes from multiple angles.
Literary Influences and Early Reading Experiences
Yu’s development as a writer was shaped by a rich tapestry of literary influences. In her early years, she was drawn to a wide range of genres and authors, reflecting the eclectic tastes that would later inform her own writing. Some of the most significant books in her formative years included:
- The Redwall series
- The Chronicles of Narnia
- The Boxcar Children
- Works by Laura Ingalls Wilder
- Lang’s Fairy Books
- Watership Down
- Books by Roald Dahl and Dick King-Smith
As she progressed through middle school, Yu’s reading habits evolved to include more complex and varied works:
- The Discworld series by Terry Pratchett
- Douglas Adams’ works
- Books by Guy Gavriel Kay
- Novels by Charles de Lint, Laurie R. King, Mercedes Lackey, and Patricia McKillip
In her later years, Yu found inspiration in contemporary literary fiction and magical realism, citing works such as:
- “Possession” by A. S. Byatt
- “Little, Big” by John Crowley
- “The Brief Wondrous Life of Oscar Wao” by Junot Díaz
- “Swamplandia!” by Karen Russell
How did E. Lily Yu’s early reading habits influence her writing style?
Yu’s exposure to a diverse range of genres and writing styles from an early age likely contributed to her ability to blend elements from different literary traditions in her own work. The fantasy and science fiction she read in her youth provided a foundation for her imaginative storytelling, while her later exploration of literary fiction and magical realism may have influenced her lyrical prose style and her approach to blending the fantastical with the mundane.
The Journey from Reader to Writer
When asked about her transition from avid reader to writer, Yu poetically states, “Blow on dandelion clocks, you get dandelions.” This metaphor suggests that her writing career grew organically from her love of reading, with stories naturally taking root and flourishing in her imagination.
Yu’s assertion that she “always knew” she would be a writer indicates a deep-seated passion and commitment to the craft from an early age. This innate understanding of her calling likely fueled her dedication to developing her skills and pursuing opportunities to share her work with the world.
What challenges does E. Lily Yu face in her writing process?
When discussing the aspects of storytelling and writing that she finds challenging, Yu points to “The courage required.” This succinct response hints at the emotional and psychological demands of the creative process. Writing often requires vulnerability, the willingness to take risks, and the fortitude to face rejection and criticism. Yu’s acknowledgment of courage as a key challenge suggests that she views writing not just as a craft to be mastered, but as a deeply personal and sometimes daunting endeavor.
The Impact of Clarion West
Yu attended the prestigious Clarion West Writers Workshop in 2013, a pivotal experience for many emerging speculative fiction authors. While many of her stories published in 2013 were written before attending the workshop, Yu acknowledges the significant benefits she gained from the instruction and community at Clarion West.
The impact of this experience is evident in Yu’s debut novel, “On Fragile Waves,” where she acknowledges several of her Clarion West teachers and classmates. This suggests that the workshop not only provided valuable instruction but also fostered lasting relationships within the writing community.
How has the Clarion West experience influenced E. Lily Yu’s writing career?
Clarion West appears to have played a multifaceted role in Yu’s development as a writer:
- It provided high-quality instruction from established authors in the field
- It offered a supportive community of fellow writers
- It created networking opportunities within the speculative fiction industry
- It likely exposed Yu to new techniques and perspectives on storytelling
The ongoing support Yu has received from the Clarion West community, both before and after her time at the workshop, underscores the long-term value of such intensive writing programs in nurturing and sustaining literary careers.
Yu’s Approach to Short Fiction
Yu’s process for writing short fiction varies depending on the nature of the project. She distinguishes between two main approaches:
- Solicited stories: These tend to be more planned and structured, likely due to specific requirements or themes requested by editors or publishers.
- Spontaneous stories: Yu describes these as falling “at unpredictable intervals, like apples or meteors,” emphasizing the organic and sometimes unexpected nature of inspiration.
For her spontaneous stories, Yu employs a metaphor of picking up, cleaning, and preparing the ideas—either “baking and pieing” them or forging them into “swords.” This vivid imagery suggests a process of refining and shaping raw ideas into polished narratives, with the potential for both comforting familiarity (pies) and sharp, impactful storytelling (swords).
How has E. Lily Yu’s writing process evolved over time?
Yu notes that she has “less and less time these days,” indicating that her writing process has had to adapt to the constraints of a busier schedule. However, she emphasizes that she has “no less love” for the craft, suggesting that while her methods may have become more efficient or focused, her passion for writing remains undiminished.
This evolution in Yu’s writing process reflects the reality many authors face as they balance their creative work with other professional and personal responsibilities. It highlights the importance of flexibility and dedication in maintaining a productive writing career.
Poetry and Prose: Yu’s Literary Duality
While Yu is primarily known for her short fiction, her debut novel “On Fragile Waves” opens with poetry, showcasing her skill in blending different literary forms. The poetic elements in her novel serve to immerse readers in the sensory and emotional experiences of war and childbirth, demonstrating the power of poetry to convey intense and complex moments.
Despite her evident talent for poetry, Yu’s published works are predominantly prose. When asked about her relationship with poetry, Yu reveals several insights:
- She continues to write poetry but rarely seeks to publish it
- Poetry is difficult to place in publications
- The financial compensation for poetry is often lower than for fiction
- Submitting and tracking poetry submissions is time-consuming
Yu’s decision to focus on fiction publishing is pragmatic, based on the realities of the literary market and the demands on her time. However, her continued engagement with poetry, even if not for publication, suggests that it remains an important part of her creative process and artistic expression.
How does E. Lily Yu’s engagement with poetry influence her prose writing?
The presence of poetic elements in Yu’s prose, as evidenced by the opening of “On Fragile Waves,” indicates that her work in poetry informs and enriches her narrative writing. Poetry’s emphasis on rhythm, imagery, and condensed meaning likely contributes to the lyrical quality and emotional depth of Yu’s prose. By maintaining a practice in both forms, Yu can draw on the strengths of each to create prose that is both story-driven and aesthetically compelling.
Yu’s mention of reading Richard Siken’s poetry collection “Crush” while editing her novel further illustrates the interplay between poetry and prose in her creative process. This engagement with poetry during the revision of her prose work suggests that Yu sees value in cross-pollination between different literary forms, using the intensity and precision of poetry to inform and refine her narrative prose.
Clarkesworld Magazine – Science Fiction & Fantasy
In 2011 Clarkesworld published E. Lily Yu’s short story “The Cartographer Wasps and the Anarchist Bees,” which was a finalist for the Dell Award. The genre community also took notice: the story earned her nominations for a Million Writers Award, a Hugo Award, a Nebula Award, a World Fantasy Award, and a Locus Award. In 2012 Yu won the Astounding Award for Best New Writer.
E. Lily Yu received her A.B. at Princeton, then a M.A. at Cornell. She attended the Sewanee Writers’ Conference as a Tennessee Williams Scholar, then Clarion West. In 2017 she received the Artist Trust/LaSalle Storyteller Award.
Roughly thirty stories later, appearing at a range of venues, such as Cicada, McSweeney’s, Tor.com, Boston Review, Hazlitt, Terraform, and F&SF, plus multiple appearances in Year’s Bests, Yu has developed a reputation for boundary-breaking fiction, wonderful prose, and thorough research.
Creatively, she isn’t interested in limitations: she writes poems, plays, novels, essays, stories, songs. She has worked on video games such as Destiny and Destiny 2. Her 2015 Uncanny Magazine story, “Woman at Exhibition,” was part of the Discenza-Straub exhibition at the Contemporary Jewish Museum in San Francisco; more recently, she taught an Interactive Fiction seminar for Clarion West.
Her debut novel, steeped in research from books, Persian language study, detention center visits, travel, and more, is called On Fragile Waves, and it’s due from Erewhon Books February 2, 2021.
What were some of the most important books for you when you were younger?
Ten years ago, my touchstones were A. S. Byatt’s Possession, John Crowley’s Little, Big, Junot Díaz’s The Brief Wondrous Life of Oscar Wao, and Karen Russell’s Swamplandia!
If you mean much younger, to the best of my recollection, third and fourth grade were marked by Redwall, The Chronicles of Narnia, The Boxcar Children, Laura Ingalls Wilder, Lang’s Fairy Books, Watership Down, Roald Dahl, Dick King-Smith, Kenneth Oppel, Laurence Yep, David Clement-Davies, Jack London, Arthur Conan Doyle, Tamora Pierce, Tanith Lee, Diana Wynne Jones; sixth grade was Lilian Jackson Braun, Jane Yolen, Patricia C.
Wrede, Piers Anthony, Garth Nix, Diane Duane; by seventh grade I’d read all the Discworld and Douglas Adams books, and started on Guy Gavriel Kay; by eighth grade Charles de Lint, Laurie R. King, Mercedes Lackey, Patricia McKillip, and Pamela Dean. I also hauled home the Windling and Datlow best-of-the-year anthologies throughout middle school, though I quickly learned to skip stories that only had Ellen’s initials on them.
How did reading become writing, and when did you start taking writing seriously?
Blow on dandelion clocks, you get dandelions.
I always knew.
Are there aspects of storytelling/writing that you feel are more challenging for you, things you struggle with? And how do you deal with those elements?
The courage required.
I wish I knew.
You had several notable short fiction sales before attending Clarion West in 2013. Then there’s this burst of stories appearing in 2013. Did Clarion West have a significant impact on your career or your craft?
It usually takes between six months and two years for a story of mine to be published, so I’d written all but one of the stories that were published in 2013 before attending Clarion West.
That said, I benefited greatly from the instruction I received there, and you’ll recognize several of my teachers’ and classmates’ names in the acknowledgments of On Fragile Waves. Clarion West has also provided community and support for as long as I’ve lived in the Seattle area, both before and after my time at the workshop.
What is your short fiction writing process—is it spontaneous, or carefully planned and executed with lots of editing? And has this process changed much since back when you were starting out?
It depends on the story. Solicited stories tend to be planned. Other stories fall at unpredictable intervals, like apples or meteors, to be picked up and cleaned and baked and pied—or forged into swords—when I have the time.
I have less and less time these days. Though no less love.
On Fragile Waves opens with poetry, using space, sound, and silence to immerse the reader in war as well as to relate the moments of childbirth. But you are far more prolific as a published short fiction writer than a poetry writer.
What is your relationship to poetry? Is it more personal, harder to write, or are there other reasons you focus more on short fiction?
I still write poems, but I don’t try to publish them. Poetry is difficult to place and doesn’t pay well outside the biggest magazines. Sending out and tracking poetry submissions isn’t a good use of my limited time, unlike sending out fiction, or, better still, reading other people’s fiction and poetry. I read Siken’s Crush while working on line edits for this book, and your question reminds me to get Beloit Poetry Journal again. They do beautiful work.
Power and helplessness are explored in On Fragile Waves. In your Lightspeed Spotlight for “The Valley of the Wounded Deer,” when asked how that story started, you said, “First came, as it does to all, the experience of cruelty from those with power.” What draws you to exploring power in your fiction?
The mesh-like, self-perpetuating networks of power that infiltrate our lives, whether formal or cultural, are both the strongest determinants of our behavior and the most invisible, least understood part of our lives.
The American system of racism is one such network; corporate hierarchies are another; the global private prison industry is a third.
The more we can see the strands in these networks, how they interact, and how they influence what we think, do, and say, the more we can think, act, and speak freely and wisely, if we choose. A clear understanding of power not only frees the individual but also protects communities. There are plenty of unethical people who do see and pull these strings for their own benefit. They rely on others’ refusal to see power to get away with unsavory and destructive behavior. For the most part, unfortunately, that works.
If you are unfamiliar with what I’m describing, ask yourself, in a specific situation: to whom do I give the benefit of the doubt? And why? What evidence, particularly patterns of past behavior, supports or does not support that choice?
In your 2020 Debuts interview you said that On Fragile Waves took seven and a half years to write, and that when you started you weren’t able to write it.
What were the most challenging aspects of it, the things you had to learn or do in order to write this book?
When the shape of the book showed itself to me, I was twenty. I knew that I was not yet the person who could write it, but that I could become that person, if I was willing to pay the cost. I also knew I could walk away. No one forces you to wear out seven pairs of iron shoes. You put them on because there is something greater and more valuable than your comfort and safety, than the years of your life that are poured out, at the end.
I did not know the journey would take ten years. I did not know how thoroughly the book would break me. I threw out three drafts—one of them twice the length of the published version—and rewrote the entire book four times, twice in longhand. And when I finally became the writer and artist and human being that the book needed, when I was satisfied with my work and the book was complete, every single major and minor publishing house rejected it.
I had to make peace with the fact that the best thing I’d ever written most likely would never see the light of day. That was difficult. I made my peace with it. After a year and a half on submission, I thanked my agent for his tremendous efforts and unwavering kindness and told him I thought it was time to give up.
He refused.
The morning that “The Valley of Wounded Deer” was published, I got out of bed in Ottawa, in the home of a kind and talented writer who has walked a similar road, to find an email from my agent. He had some news.
It was another month before I believed him.
Looking over some of your prior interviews, I get the sense of you as a person who dives deep into research and likes to get hands-on and experiential, if possible. What were some of the things you found (or did) that didn’t make it into this book?
I started researching this book in 2010 and finished the last major draft in 2018. I’m afraid I have forgotten almost as much as I’ve learned, especially the Persian.
I also had five interstate moves in that period, so my notes are in disarray, and I’m not sure I’ve retained all my notebooks. But being chased by a pair of snarling, red-eyed dogs down the muddy side of a hill fort in Kabul was certainly an unforgettable experience.
Do you have any advice for new writers?
Trust the still small voice at your center. It will advise you better than anyone else.
Is another book on the way? What’s next, what’s coming up for you, or what are you working on that you can tell readers about?
At the moment, I’m collaborating on a short opera with Steven Tran for the Seattle Opera, as part of their Jane Lang Davis Creation Lab. This too has been a longtime dream.
Lily Yu, Clinical Social Work/Therapist, Los Angeles, CA, 90025
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Los Angeles, CA 90025
Sunnyvale, CA 94086
Available both in-person and online
Currently all sessions are conducted via telehealth using a secure video platform.
I specialize in Trauma and PTSD, Anxiety and Depression
$150 Per Session, I accept insurance
I see individuals, families and groups
My Practice at a Glance
Los Angeles, CA 90025
Sunnyvale, CA 94086
Available both in-person and online
Currently all sessions are conducted via telehealth using a secure video platform.
I specialize in Trauma and PTSD, Anxiety and Depression
$150 Per Session, I accept insurance
I see individuals, families and groups
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Last Modified: 30 Nov 2022
E. Lily Yu
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| Sort: by year of publicationby year of writingby ratingby number of ratingsRussian titleoriginal title |  To see publication dates, switch sorting. |
E. Lily Y. Participation in inter-author projects | ||||
Hellboy Universe // inter-author cycle | 8.65 (54) | 1 review | ||
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8. 00 (1) | ||||
| 6.00 (1) | |||
E. Lili Y. Novels | ||||
| 2021On Fragile Waves | ||||
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| 2007Dovey | 6.00 (1) | |||
| 2010The Transfiguration of Maria Luisa Ortega (online publication) | 9.00 (3) | |||
| 2011The Lamp at the Turning (online publication) | 7.00 (1) | |||
| 2011 The Cartographer Wasps and the Anarchist Bees | 6. 57 (87) | |||
| 2012Tiger in the BSE (online publication) | 6.00 (1) | |||
| 2013Ilse, Who Saw Clearly | 7.00 (1) | |||
| 2013 Loss, with Chalk Diagrams | 7.00 (1) | |||
| 2013The Forgetting Shiraz | 6. 00 (1) | |||
| 2013The Pilgrim and the Angel | 6.00 (2) | |||
| 2013The Urashima Effect / The Urashima Effect | 6.90 (10) | |||
| 2013 Daedalum, the Devil’s Wheel | 8.00 (1) | |||
| 2014Local Stop on the Floating Train(online publication) | 9. 00 (1) | |||
| 2014Musee de l’Âme Seule | 5.00 (2) | |||
| 2015Woman at Exhibition(web publication) | 4.00 (1) | |||
| 2016Braid of Days and Wake of Nights | 8.00 (1) | |||
| 2016Darkout | 6. 00 (1) | |||
| 2016Paul Flitch’s Slap-Bang Fracas With Mister Delusio (Online Publication) | 9.00 (1) | |||
| 2016The Gardener and the King’s Menagerie (online publication) | ||||
| 2016The Witch of Orion Waste and the Boy Knight | 6.00 (2) | |||
| 2017 A Quiet Night in the Library | 6. 00 (1) | |||
| 2017The View From the Top of the Stair (online publication) | 5.00 (1) | |||
| 2017The White-Throated Transmigrant (online publication) | 5.00 (1) | |||
| 2017The Wretched and the Beautiful | 8.00 (1) | |||
| 2018In the Forests of Memory(online publication) | 7. 00 (1) | |||
| 2018Music for the Underworld | 10.00 (1) | |||
| 2018The House Inside the House | 8.00 (1) | |||
| 2018The No-One Girl and the Flower of the Farther Shore | ||||
2019The Doing and Undoing of Jacob E. Mwangi | 7.00 (1) | |||
| 2019The Valley of Wounded Deer(Online Publication) | 8.00 (1) | |||
| 2019Three Variations on a Theme of Imperial Attire | 6.00 (1) | |||
| 2019Zero in Babel(web posting) | ||||
| 2019Green Glass: A Love Story / Green Glass: A Love Story | 7. 00 (18) | |||
| 2019The Time Invariance of Snow | 8.00 (1) | |||
| 2020The Talking War | ||||
| 2021Small Monsters | ||||
2022An account, by Dr. Inge Kuhn, of the Summer Expedition and Its Discoveries | ||||
| 2023The Father Provincial of Mare Imbrium(online publication) | 6.00 (1) | |||
| 2023The River and the World Remade(online publication) | ||||
E. Lili Y. Microstories | ||||
| 2006The Silence (web publication) | 10. 00 (1) | |||
E. Lily Y. Libretto | ||||
| 2021Stars Between[20 Minute Opera](Online Publication) | ||||
E. Lili Y. Poetry | ||||
| 2008 What Comes After Rain | 9.00 (2) | |||
| 2010Come True | 8. 00 (1) | |||
| 2010 Patience | 8.00 (1) | |||
| 2010The Poet to the Wasp Queen Among the Plums | ||||
| 2011Dragonfly to Damsel | ||||
| 2011Thanatopsis | 9. 50 (2) | |||
| 2012Thermosphere | ||||
E. Lily Y. Essay | ||||
| 2021A Love Letter to Libraries(online publication) | ||||
E. Lili Y. Interview | ||||
2015Writing for Video Games: A Conversation with E. Lily Yu, Yoon Ha Lee, Robert Reed, Seth Dickinson, and Karl Schroeder// Co-authors: Yoon Ha Lee, Robert Reed, Seth Dickinson, Alvaro Sinos-Amaro | ||||
E. Lily Y. Unpublished | ||||
| An Aureate Earth (story, unpublished) | ||||
| Hyacinth (story, unpublished) | ||||
| Glass, Darkly (play, unpublished) | ||||
Lili Y. StoriesAll editions of the author (38 editions)
Literary awards of the author (12 awards)
Rating format Note Official electronic editions:
Bibliographers |
Author: E. Lili Y. – 1 books.Main page.
LitVek – electronic library >> Popular authors >> E. Lily Yu. Sell your homeland?
Irina 05-07-2023 at 06:34 #191229
Ninth mirror (SI)
Elena Alexandrovna Romova
I liked it very much! Where can I find the sequel?
Hope 06/29/2023 at 16:37 #191205
Love and teenagers
Erika Leng
liked it. easy to read. Secrets are gradually revealed.
Zhenya 27-06-2023 at 04:58 #191196
Angel
Mikhail Ivanov
The full version of “Angel” is included in M. Ivanov’s novel “M. Berg. Cup of coffee. (Four stories)”. The meaning of the work is revealed to the end precisely there.
Mikhail 06/26/2023 at 22:05 #191194
Bolotnik
Andrey Alekseevich Panchenko
stupid, illiterate shit
author zaikhohlov
Vova 06/24/2023 at 15:11 #191189
Rzhevsky
Semyon Afanasiev
Hat.
I do not recommend.
Artem 06/21/2023 at 16:40 #191164
Indara Bridge
Alexey Arsentiev
Because the book is posted on other resources, and LitVek has a habit of posting books without the permission of the authors. So it turns out that they stole a piece of text, and the author is probably not aware of
Anna 06-20-2023 at 19:01 #191161
The whole Hamilton Edmond in one volume
Edmond Moore Hamilton
Hamilton cap Future? Whole? Fully?!!
Sanya 20-06-2023 at 12:39 #191160
Unabomber Manifesto
Teodor Kaczynski
Norm people
Alisher 19-06-2023 at 20 :31 #191157
Watchmaker Baron Jester and Cat
Volume Tork
Where’s the cover? And when will the author be asked about the publication?
hello 18-06-2023 at 17:18 #191153
ALL COMMENTS
org/Person”> By Diana Wynn Jones, Neil Gaiman, Samuel R. Delaney, Peter Sawyer Beagle, Avram Davidson, Anthony Bu Cher, Edith Nesbit, Larry Niven, Frank Richard Stockton, Gahan Wilson, Nnedi Okorafor , Maria Devana Hadley , Nalo Hopkinson , Megan Kerashigey , Saki , E. Lili Y.
