Monthly Archives: September 2013

Some Funnies for the Day

Supernatural new fall season promo:

A collage of Vime videos from a dad who will eventually be taken out by his wife — Batdad! :

Monty Python and The Holy Grail is one of the true classics of comedy film. But what if it weren’t sold as a comedy, but as a modern fantasy action thriller? A parody rejiggered trailer for the movie (Eric Idle of Python saw it and said that it was wonderful):

3 Comments

Filed under Movies/TV, SFFH

A Little Franzen Follow-up

Jonathan Franzen’s Luddite tirade got him heaps of promotional Internet attention with some people supporting him in the society is dumber every year chorus and others taking him to task for the ill-thought out troll bait. Two of the more entertaining of the latter:

1) Jennifer Weiner, whom Franzen had pinged as a self-promotional harpy because she’d made him example A in looking at biases against women reviewers and authors in the fiction industry — even though he agrees with her about those biases — responded adeptly to Franzen’s swipe and piece.

2) Journalist Kate Heartfield had a nice piece for the Ottawa Citizen talking about the historical inaccuracy of Franzen’s piece in regards to technology and change.

3) And author Clive Thompson promoted his book, Smarter Than You Think: How Technology is Changing Our Minds for the Better, by having various media excerpt some of the data from it in reference to Franzen, such as the quotes below:

In fact, the historical pattern here is steady: Each new tool for communications has provoked panic that society will devolve into silly chatter. Take the telephone, for example. It would, critics predicted, atomize society into a blasted landscape of pasty, sun-averse morlocks unable to socialize face to face, because they’d be out of practice. Who would bother to leave the house, when you could simply call someone? Worse, it would degrade human interaction into a rambling exchange of trivialities, as Mark Twain suggested in his 1880 satirical sketch, “A Telephonic Conversation”. Meanwhile, mavens of etiquette fretted that the telephone would coarsen our manners, because the predominant greeting — “hello!” — derived from the shout of “halloo”, a bellow used to summon hounds to the hunt. (Americans fought about the propriety of “hello” until the 1940s.) Today, of course, everyday use has so domesticated the technology that nostalgics now regard the telephone as an emotionally vibrant form of communication that the Internet is tragically killing off.

…The comedian and writer Heather Gold, one of the cocreators of the concept of “tummelling”, once told me that social media is unsettling to many is because it feminizes culture. All this “liking”, this replying, these bits of conversational grooming — “phatic” gestures, as sociologists would call them, which comprise a significant chunk of our ambient signals — are precisely the sorts of communiques at which women are traditionally urged to excel. “You go online and all these type-A, alpha-male business guys are acting like 13 year old girls, sending little smilies to each other publicly and going hey, happy birthday!” she told me. Obviously, these are crude categories; many men have superb social skills, many women have terrible ones, and as feminists have long noted, the relegating of women to “social” jobs is part of how they’ve been sealed out of decision-making roles for millennia. But this shift towards a world that rewards social skills is real, and explains part of the reaction against it.

Or to put it another way, reaping the cognitive benefits of the Internet often requires social work. This distresses anyone for whom social work is a chore, or seems beneath them.

I did not know that the telephone had incurred as much of the same suspicion when it was introduced, although later on in the 1950’s and 1960’s, its use by teenagers was considered a sign of the impending apocalypse of society. The rest is not a surprise.

What we can learn from this is that if you’re a high profile author who is frequently on media (technology) and the Internet (technology) for promotion mouthing the same old platitudes about how technology changes and makes culture shallow and hollow, then you get a big technology promo boost. But this we must not regard as “bragging.” And anyway, there are authors who agree with Franzen, such as the cookbook author who is doing promotion on the Web, including an event with Gwyneth Paltrow. (The double-speak, it burns.)

I used to joke that Google was trying to take over the world. I’m not going to do that anymore. (I may however continue to do so about the oil and gas companies.) While I’m not under the illusion that corporate behemoths don’t call much of the tune in the world, these conspiracy theories about how this company or that company is going to swallow everybody up are a little too cultish for me — and they’re always wrong. Just the other day, Blackberry laid off most of its employees, is desperately seeking a buyer and is otherwise going off into that good night. Blackberry, of course, was the company that made mobile/phone devices into the powerhouse they are now and arguably was the accelerant to everyone getting cellphones. They were the company that produced the term “Crackberry” as a cultural meme because the Blackberry was so addictive and being used so extensively in business that people predicted that Blackberry would permanently change the culture into a world of rude, scattered, socially dysfunctional workaholics obsessed with trivialities. (Sound familiar?) Now it’s “Blackberry who?” While I suspect Amazon will escape such a fate, nonetheless the tirades about boogeymen in order to get a rise and media attention are a sadder commentary on the culture than people discussing what they had for lunch on Twitter.

Leave a comment

September 25, 2013 · 3:52 AM

The Next Amir Zand Cover for Lucas Thorn’s Nysta Series

So I’ve become a big fan of artist Amir Zand because of his book cover work on Australian author Lucas Thorn’s Nysta series. Nysta is a really fascinating, sometimes raw, secondary world fantasy series. The narrative of the novels is pure dark American/Aussie Western, deliberately classic and bloody in the way the characters speak, act, and in much of the plot and setting. But this is then blended with an also deliberately game-style epic fantasy world of gods who command armies and then disappear, monsters, elves, goblins, kings, assassins, sorcerers, etc. And on top of that blend, Thorn layers in a level of gentle satire that pokes some loving fun at the mythos of westerns, fantasy and gaming. The mix of those elements creates a pretty unusual dark fantasy with streaks of black humor and horror — and lots of cursing. If you like mash-ups, this is a real mash-up and Thorn makes it work.

In Nysta: Revenge of the Elf, the first novel, Nysta is an elf with an unusual history living in exile who then pursues her husband’s killers, a gang of outcast mercenaries on a mission with dangerous consequences. That chase leads her into even darker territory and a life changing encounter with a magical force. In the second book, Duel at Grimwood Creek, Nysta has her chance at revenge — after she deals with a collector of souls and other creatures in the Deadlands who want her head. In the newest novel, When Goblins Rage, Nysta is fighting for control of her own mind and against forces ranging from vampires to armies of goblins who see her as the key to reaching the gods. Good clean fun, really.

For each of these books, Zand has done a cover in a different style and color palette, giving each its own look but connected through line and other elements to build a general atmosphere that is a bit Asian, a bit western, and a bit surreal. They are really beautiful; what I love about them is the sense of movement to each image. You can see the previous covers here and here. The new one for When Goblins Rage is below. This one plays up the epic fantasy aspects more than the earlier ones with a brighter color scheme, but still has that chaotic mix of light and shadow and shifting ribbons of the others.

Nysta: When Goblins Rage by Lucas Thorne. Cover by Amir Zand.

2 Comments

Filed under Art, book publishing, SFFH, SFFH Novels to Check Out

I Believe Most of Us Would Say that We Want One

Courtesy of Jim C. Hines‘ blog:

Leave a comment

Filed under Art, Humor, SFFH, Technology

Jonathan Franzen Tells the Kids to Get Off His Lawn

Bestselling, award-winning, highly discussed fiction author Jonathan Franzen has a new book coming out in a few weeks. It’s a non-fiction collection of the essays of a German satirist, which Franzen edited and wrote essays and annotations on for the book. And so he did a piece for Britain’s The Guardian, run online, about the satirist’s views of turn of the century technology, and how Franzen connects it to all he thinks is wrong with current Internet culture, specifically horrible Amazon, amateur book reviews, people taking pictures with smartphones, Facebook and Twitter, and whether we’re becoming in a way less human and stupider from modern technology and media.

The piece is such a mess of contradictory illogic and false claims against Internet book promotion — while he promotes a book on the Internet — that I could not resist going through the parts of the article dealing with our world, piece by piece. (If I’m going to be snarky, I might as well hit a big easy target.) It’s also useful for discussing various issues in book publishing and commonly held misconceptions, many of which Franzen espouses. So here are the bits that are about our modern times with my commentary:

In my own little corner of the world, which is to say American fiction,

Dude, you’re an international bestseller. Gain a little awareness, here. It’s a global market now.

Jeff Bezos of Amazon may not be the antichrist, but he surely looks like one of the four horsemen.

That would be the Amazon that has promoted the hay out of Franzen and helped make him a huge international bestseller. (Amazon is also not confined to the U.S.)

Amazon wants a world in which books are either self-published or published by Amazon itself,

They really don’t. Yes, they promoted the stuffing out of their self-publishing program – because self-pub authors and their families would then buy stuff from Amazon, and to help maintain their dominance in the e-book market at the beginning. And yes, they started a publishing arm to use as leverage with the big U.S. publishers. It’s their second publishing house – the first one petered out because Amazon really doesn’t care about book publishing and internationally has almost no publishing presence at all. Amazon cares about multi-media – movies (they have a studio now,) web videos, music, apps, data streaming and mobile devices – the tech world, not the book world. Bezos only decided to have Amazon sell print books initially instead of other products because the industry had the consignment return system – a less risky product, and Amazon’s only interest in e-books was to launch the Kindle.

with readers dependent on Amazon reviews in choosing books,

Franzen seems to be under the mistaken impression that large gobs of people read Amazon’s book reviews for more than entertainment purposes. Or that most book buyers read reviews at all and use them to choose books. As we know – and he should know – most people buy based on recommendations from friends and family, followed by book browsing. Reviews matter mostly in two areas – “serious” fiction that Franzen publishes, where reviews don’t impact sales directly that much but are status symbols in top publications that help get major, lucrative award nominations and may also be used by reading book clubs, and genre fiction where categories have their own genre media that dedicated readers may actually pay attention to in regards to reliable reviewers. Neither of those involve Amazon’s book reviews, nor are in competition with them. He may also be alluding to Amazon recently buying Goodreads, which people feared meant that Amazon would replace Goodreads’ consumer reviews – which are just like Amazon’s consumer reviews – with Amazon consumer reviews. In actuality, Amazon bought Goodreads for its extensive marketing data and because of its advertising revenue, to which they freely admitted.]

and with authors responsible for their own promotion.

Authors have always been responsible for their own promotion, including often getting reviews. Franzen was taken very good care of by Farrar, Straus & Giroux with his debut novel, which was given a big push, and when The Corrections became a bestseller and then Oprah picked it for her club and he won the National Book Award, most PR coordination was handled by FSG from thereon in, as well as possibly hired publicists. So maybe it just hasn’t occurred to the man that most authors get minimal promotional help and always have. Or more likely, that fact simply doesn’t fit the message he wants to make.

The work of yakkers and tweeters and braggers, and of people with the money to pay somebody to churn out hundreds of five-star reviews for them, will flourish in that world.

Franzen believes that fiction selling is or will become a popularity contest of authors’ personalities and ads (including paid reviews.) In reality, ads for fiction (and reviews) have very little effect on sales except for those authors like Franzen who are already bestsellers. Franzen is postulating that the Net will so change culture in the future that people will buy because authors talk to them. In hundreds of years, that did not occur. The Web has been around for twenty years and authors on it; it still hasn’t occurred. If it did, Franzen would be in good shape, since he regularly yaks online in articles and interviews – usually complaining about others being online and how this means doom.

But what happens to the people who became writers because yakking and tweeting and bragging felt to them like intolerably shallow forms of social engagement? What happens to the people who want to communicate in depth, individual to individual, in the quiet and permanence of the printed word,

Some of them will be huge bestsellers, like Franzen. It is interesting that Franzen regards talking as a shallow form of social engagement, but talking at people in print – which is often transitory not permanent, like say newspaper book reviews — is automatically in depth. Franzen sounds nothing so much here as like a man whose publisher has been bugging him to do more promotion online.

and who were shaped by their love of writers who wrote when publication still assured some kind of quality control

Publishers have never assured any quality control and Franzen knows that. Publishers have always put out a range of books and the selection process did not involve checking everything with a specially appointed committee in academia. (And even if it had, that still wouldn’t promise quality.) Franzen here is pushing the myth that because many self-published works are badly edited, they will overrun the intellectual wealth of the nation. In reality, self-published works have had little impact on partner-published books and may contain as many gems as any other sector of fiction. Franzen is merely repeating what used to be said of mass market paperbacks back in the mid-20th century – that it would wipe out the hardcover, which it did not.

and literary reputations were more than a matter of self-promotional decibel levels?

Right, because Dorothy Parker and the Vicious Circle had nothing to do with promotion. F. Scott Fitzgerald wrote for the movies for cash and to promote himself, but that doesn’t count. Serious fiction writers who were journalists and milked every piece they wrote for novel promotion – the old method of author promotion – was somehow less noisy. Franzen himself went on Oprah to smooth feathers when he slammed her for picking his book. Norman Mailer’s lecture tours, prominent award-winning authors going on game shows back in the sixties, etc. all of that had nothing to do with self-promotional talking apparently. All of which, Franzen is right, really did have little to do with their literary reputations, and neither does talking or publishing on the Net. But it didn’t hurt either, which is why Franzen is yakking it up online to promote his new non-fiction book, among other things.

As fewer and fewer readers are able to find their way, amid all the noise and disappointing books and phony reviews,

Again, Franzen floats the idea that readers are guided in their buying choices by book reviews, which we know from countless surveys of readers to be incorrect, and that now they are instead being guided by phony consumer book reviews and authors blogging, which countless surveys of readers show to be incorrect. Word of mouth from family and friends and the occasional handselling of store clerks — which is consistently how readers most pick books — never rears its head here. The Internet, with all its “noise” has actually helped people find books at all, because it makes them visible for people to find, whereas before books were disappearing from more and more physical spaces and conversations. Franzen apparently resents that partner published titles used to have Amazon’s screens and bestseller lists all to themselves and now they have to share them with self-published titles sometimes, but again, those self-pubbed books have not hurt other books – they’ve brought in new readers who browse, same as always.

to the work produced by the new generation of this kind of writer, Amazon is well on its way to making writers into the kind of prospectless workers whom its contractors employ in its warehouses, labouring harder for less and less, with no job security, because the warehouses are situated in places where they’re the only business hiring.

First off, I think it unlikely there are many places where Amazon warehouses, which are not particularly numerous, are the only business hiring. (Although I do agree that Amazon treats their employees poorly, a common problem with large corporations.) Second, writers had job security before? Since when? Writers are not employees of publishers or vendors and writers often have fewer “prospect” skills than computer savvy employees. They certainly, despite mental labor, are nowhere near in their laboring to manual workers. Most writers make little money and have day jobs. A writer struggling in financial hardship – as Franzen did himself – is not a new condition.

And the more of the population that lives like those workers, the greater the downward pressure on book prices and the greater the squeeze on conventional booksellers,

Actually, book prices keep going up, the wholesale market shrank in the 1990’s which reduced access to cheap books, and booksellers have been squeezed more by store rent and mortgage hikes in the real estate market than sales issues. Amazon may have wanted to keep e-book prices low, losing money to establish the Kindle, but they were just as happy to let those prices bounce back up after negotiations, where they have stayed, and e-book sales are leveling off (though they are bringing in more profit because e-book prices are higher.) Meanwhile, print sales have bounced around, sometimes going up or slightly down, but not as bad as during the recession. Book profits were up for most of the big publishers in the first half of 2013. Franzen should know all this, or at least have bothered to do a search about it, but the facts again don’t fit his narrative.

because when you’re not making much money you want your entertainment for free, and when your life is hard you want instant gratification (“Overnight free shipping!”).

When you are not making much money and your life is hard, what you want is irrelevant. You definitely hope you can find some free entertainment, since your money has to go to things like food. When you aren’t making much money, you have no or little access to the Web, you don’t buy books online or elsewhere, and you learn to live without gratification, much less instant gratification. Who Franzen is really talking about are the people who do have money – the middle class and higher who can afford to get on the Web, order products, and steal illegal streaming. These people don’t read Amazon consumer book reviews or newspaper book reviews most of the time. And even they don’t get free overnight shipping. If you want something shipped overnight, you have to pay for that, quite often a lot. You only get the shipping free if you buy a lot and it comes by regular shipping, which can take anywhere from three days to weeks. Franzen seems to feel the working class are rudderless, easily manipulated folk who – what? — mooch off the government to get on the Web, order books instead of more popular products from Amazon and somehow get magic shipping?

But so the physical book goes on the endangered-species list,

Print sales had several upturn cycles, make up seventy-five percent of the market and booksellers were quite happy at this year’s Book Expo trade show.

so responsible book reviewers go extinct

Like the responsible book reviewer at the New York Times whom Franzen has called a “national disgrace”? Actually, professional book reviewers are migrating to the Web and there are actually now more new journalist positions after several years of drought.

so independent bookstores disappear,

Numerous independent bookstores are having a renaissance with increased sales and growth in their communities. It’s the big chains that are falling apart.

so literary novelists are conscripted into Jennifer-Weinerish self-promotion,

Oh, this is a good one. Jennifer Weiner’s first books were considered to be serious literary fiction. But as women’s fiction had a flush of growth, they were all tagged with the derogatory label of “chick-lit” and a lot of interesting female novelists who sold well were declared “commercial” while their male bestselling counterparts were declared weighty sophisticates. Weiner has in recent years been speaking out in the press, mostly on behalf of other female authors, that the book review sections and prominent publications were ignoring female authors, not using female reviewers often enough, and consistently insisting that women’s fiction wasn’t serious enough and was too domestically centered, while elevating male fiction about the same subject matter. She used the review and media attention Franzen was getting on his newest novel as an example. Franzen actually agreed with her that there was a bias in the press, but clearly the whole thing has rankled and so here he is digging at Weiner for being a supposedly commercial, self-promoting annoyance. Again, it sounds like Franzen’s publisher is bugging him to do more promotion and he considers this to be the fault of technology.

so the Big Six publishers get killed and devoured by Amazon: this looks like an apocalypse only if most of your friends are writers, editors or booksellers.

The Big Six are now the Big Five, as the biggest one of them is now merging with the second biggest one of them. Clearly, imminent death is on the horizon. Or not. That the Big Five are so big is in fact a problem for authors as it means fewer publishers to sell licenses to in competition with each other as their various imprints aren’t allowed to compete against each other in sales auctions. And since all the Big Five are owned by non-U.S. companies who are big global media entities, that can mean fewer options publishing abroad as well. In that sense, self-publishing as an option actually gives authors more leverage in negotiating with publishers, especially the bestsellers like Franzen, and having Amazon as yet another publishing option may help out.

Amazon has made no move to buy up the inventory of the Big Five or drive them off. Their tiny list did very poorly until recently when they have one reported hit, the three books by German author Oliver Potzsch hit one million total sales all formats. But Amazon didn’t first publish Potzsch; Ullstein in Germany did and they still reap sales benefits. And Houghton Mifflin’s Mariner Books, a major imprint, is publishing the trade paperback U.S. edition that is making up a good number of those sales, licensed from Amazon. It’s more likely that Amazon is going to be just another part of the publishing landscape, if they stick with it, than swallowing up other corporations. Franzen’s physical apocalypse fantasy is very much in line with what self-publishing vendors like to push to try and get more business – the idea that “traditional” publishing will soon be dead. The fact that no data backs that idea up or the indications that the opposite is true hasn’t stopped people from mouthing it. The fact that similar predictions of book publisher death, regarding competition from the gaming industry, the decline of schools before the rise of YA fiction, the existence of the mass market paperback, etc., have all been proven wrong is conveniently forgotten.

Plus it’s possible that the story isn’t over. Maybe the internet experiment in consumer reviewing will result in such flagrant corruption (already one-third of all online product reviews are said to be bogus) that people will clamour for the return of professional reviewers.

Note here that Franzen doesn’t go with one third of all consumer book reviews are said to be bogus, but instead “product” reviews, as in everything under the sun. And where he got such a made-up stat is anybody’s guess. The Internet isn’t really experimenting with consumer reviewing – consumer reviews have always been a factor in selling products (it’s called “customer testimonials,” Franzen.) The Internet just makes it easier. But when it comes to fiction, again, people seldom if ever check reviews for that information. They instead get the recommendations from folks they trust – friends with similar tastes to their own. The decline in book reviewers isn’t due to consumer reviews on the Internet; it’s due to the collapse of the consignment wholesale market including newsstands and the ease of Internet distribution effecting the newspaper market. This financial shift caused newspapers and magazines to jettison sections that don’t sell ads and few readers care about – like book reviews. Nonetheless, as publications are figuring out how to make the Internet work for them, reviewers of books, movies, t.v., games, etc., will continue to play a role.

Maybe an economically significant number of readers will come to recognise the human and cultural costs of Amazonian hegemony and go back to local bookstores or at least to barnesandnoble.com, which offers the same books and a superior e-reader, and whose owners have progressive politics.

1. Amazon is losing its online retail market share hegemony on the Net, not just with e-books but simply as an online retailer. It’s still going great guns, but there’s a reason it’s continually expanding into other businesses besides retail sales. Apple/iTunes emerged as a major competitor, and Apple itself is facing a raft of competitors in various forms of data streaming, which includes e-books. The twelve people who sometimes peruse my blog know that I’m not always a fan of Amazon’s tactics, but the company simply isn’t the boogeyman, ruthless as it can be.

2. That Franzen is championing Barnes and Noble is hilarious. Barnes and Noble, that would be the company facing failure due to corporate mismanagement like Borders, the company that in the early 1990’s deliberately ran independent bookstores out of business by opening superstores right across the street from them, the company that closed its mall stores and thus reduced the visibility of books in the marketplace, the company whose business practices to maintain dominance for the last thirty years have been as ruthless as Amazon’s, the company who pays its employees basement wages, the company whose nickname used to be Satan? Franzen is saying the same thing about Amazon that used to be said about Barnes & Noble and the superstores – that they would destroy bookselling and publishing, that they would exert mammoth power that would culturally impoverish books and fiction forever, etc. Now we have to save Barnes & Noble? I doubt that was the tune that Franzen was singing in 1988 when his first novel came out.

Maybe people will get as sick of Twitter as they once got sick of cigarettes.

People didn’t get sick of cigarettes. They kicked their addiction because they were dying from them, and because other people who didn’t smoke were tired of dying from second-hand smoke and enacted regulations. Twitter will lose its dominance over time as other social media companies take over market share, but since the entire Internet is about communication, it seems highly unlikely the methods of Twitter are going away. And you know who can use Twitter to alert people to their book reviews? Professional book reviewers and their publications.

Twitter’s and Facebook’s latest models for making money still seem to me like one part pyramid scheme, one part wishful thinking, and one part repugnant panoptical surveillance.

It’s true that Twitter and Facebook and other parts of the Web are scheming advertising dollars without necessarily delivering the profits for them. But so have newspapers, t.v. ads, etc., in the past. Advertising is not a guarantee. But getting people aware of what you have to offer doesn’t hurt to gamble on, especially if it’s low cost. Which is why Franzen’s publisher maintains a Twitter account to talk up Franzen and other authors, and a Facebook page just for him with a link to this article of his complaining about Facebook and Twitter.

I could, it’s true, make a larger apocalyptic argument about the logic of the machine, which has now gone global and is accelerating the denaturisation of the planet and sterilisation of its oceans. I could point to the transformation of Canada’s boreal forest into a toxic lake of tar-sands byproducts, the levelling of Asia’s remaining forests for Chinese-made ultra-low-cost porch furniture at Home Depot, the damming of the Amazon and the endgame clear-cutting of its forests for beef and mineral production, the whole mindset of “Screw the consequences, we want to buy a lot of crap and we want to buy it cheap, with overnight free shipping.”

The man is obsessed with non-existent overnight free shipping. He is also seemingly unaware that publishers for decades have let booksellers have print shipping in trucks for free. The resources and trees needed to produce paper and print books, house them in warehouses and ship them with gasoline powered trucks and planes does make a bit of an argument for e-printing being more environmentally friendly, even with the energy for electricity issues and the poor being cut off from access. China is having a manufacturing slow down because we aren’t buying cheap stuff or any stuff as much anymore and WalMart in the U.S. has seen its sales decline. Run off from papermills used to pollute lakes – any activity can destroy the environment if it isn’t regulated and companies can do as they like, which they have been. But Franzen really doesn’t care about pollution pre- or post-Internet – he’s just continuing his metaphor here.

But apocalypse isn’t necessarily the physical end of the world. Indeed, the word more directly implies an element of final cosmic judgment. In Kraus’s chronicling of crimes against truth and language in The Last Days of Mankind, he’s referring not merely to physical destruction. In fact, the title of his play would be better rendered in English as The Last Days of Humanity: “dehumanised” doesn’t mean “depopulated”, and if the first world war spelled the end of humanity in Austria, it wasn’t because there were no longer any people there. Kraus was appalled by the carnage, but he saw it as the result, not the cause, of a loss of humanity by people who were still living. Living but damned, cosmically damned.

And here we return to basic elitism. The masses will become numb, cultureless, consumer controlled stupid zombies who can’t appreciate the good stuff. Everything will be conformity and cheap and therefore worthless, no art and creativity coming from new technologies and forms, and we will stop reading books in favor of vapid entertainment, turning ourselves less than human. Meanwhile, a t.v. movie was made of Franzen’s The Corrections and his novel Freedom, is in the works to become a film. But after that, it will be all Brave New World, see if it doesn’t.

But a judgment like this obviously depends on what you mean by “humanity”. Whether I like it or not, the world being created by the infernal machine of technoconsumerism is still a world made by human beings. As I write this, it seems like half the advertisements on network television are featuring people bending over smartphones; there’s a particularly noxious/great one in which all the twentysomethings at a wedding reception are doing nothing but taking smartphone photos and texting them to one another. To describe this dismal spectacle in apocalyptic terms, as a “dehumanisation” of a wedding, is to advance a particular moral conception of humanity; and if you follow Nietzsche and reject the moral judgment in favour of an aesthetic one, you’re immediately confronted by Bourdieu’s persuasive connection of asethetics with class and privilege; and, the next thing you know, you’re translating The Last Days of Mankind as The Last Days of Privileging the Things I Personally Find Beautiful…And maybe this is not such a bad thing. Maybe apocalypse is, paradoxically, always individual, always personal.

And here Franzen hedges his bets. Apocalypse is individual, so if he is horrified that people record their big moments with smartphones the same way they did with video cameras and cameras and written accounts in the past, maybe it’s just different ways of seeing the world and we’re all not so inhuman after all. He just has a refined aesthetic.

I have a brief tenure on Earth, bracketed by infinities of nothingness, and during the first part of this tenure I form an attachment to a particular set of human values that are shaped inevitably by my social circumstances. If I’d been born in 1159, when the world was steadier, I might well have felt, at 53, that the next generation would share my values and appreciate the same things I appreciated; no apocalypse pending.

Yes, there were great values to pass on in 1159, when women were property, most people were slaves, disease and violence ran rampant and most people never made it to 53. The idea that the Middle Ages – a span of a thousand years – had little cultural and value change and little technical change over that time but was static until the Renaissance and the industrial revolution came along is so historically incorrect as to be deeply embarrassing coming from someone with Franzen’s education. Maybe Franzen is feeling his mortality here.

But I was born in 1959, when TV was something you watched only during prime time,

Yeah, no. There were these hugely popular daytime shows called soap operas, game shows, baseball games, etc. that people watched, even wealthy people. Also prime time ran four hours a night.

and people wrote letters and put them in the mail,

And now we write letters and send them electronically. We actually communicate much more with each other than we used to do.

and every magazine and newspaper had a robust books section,

That’s not historically true.

and venerable publishers made long-term investments in young writers,

Definitely not historically true, even back in the 1930’s. Talk about romanticizing the 1980’s publishing scene, dude.

and New Criticism reigned in English departments,

Not true.

and the Amazon basin was intact,

Not true at all – deforestation in the Amazon began wholesale to make farmland in the 1960’s and even more in the 1970’s once they built highways into the jungle; it’s true the big push wasn’t till the 1990’s, but that was twenty years ago when Franzen was in his thirties; when he was a kid nobody knew anything about the Amazon basin because they did not have the Internet to tell them about it and no one worried about forest destruction back then even if they knew about it. That’s how we got the Dust Bowl in the U.S.

and antibiotics were used only to treat serious infections, not pumped into healthy cows.

Antibiotics have been pumped into cows for the last fifty years, which includes most of Franzen’s lifetime.

It wasn’t necessarily a better world (we had bomb shelters and segregated swimming pools), but it was the only world I knew to try to find my place in as a writer.

It was a conformist, repressive, changing and unstable world that has laid the seeds for so many problems today, especially environmental pollution. And you know what they’re using to try to solve many of those problems today and coordinate those attempts globally – the Internet.

And so today, 53 years later, Kraus’s signal complaint – that the nexus of technology and media has made people relentlessly focused on the present and forgetful of the past – can’t help ringing true to me.

Me too, since Franzen’s forgetfulness and ignorance of the past here has been quite amazing.

The experience of each succeeding generation is so different from that of the previous one that there will always be people to whom it seems that any connection of the key values of the past have been lost. As long as modernity lasts, all days will feel to someone like the last days of humanity.

The experience of each generation is really not all that different from the previous one, despite technology. The same issues repeat – poor wages and working conditions; civil rights; environmental pollution; the young seen as weird, selfish, lazy, etc. by older people whose goals have changed; war. We feel nostalgia for the past and we white-out the unpleasant parts of it, largely because we feel, if we’re older, that our mortality and irrelevance are approaching fast. Franzen, however, has been complaining about this stuff for a long time; he was writing essays about the decline of contemporary literature in the 1990’s, when he was promoting his second novel not surprisingly. And just as then, he’s promoting his new non-fiction book now, online, by yakking and modest bragging with crosslinks to his Facebook page, which you can buy at Amazon on pre-order for a 40% discounted price or a not so cheap e-book price of $15.36. Way to have your cake and eat it too, big guy.

Franzen’s concerns are not new – the world seemingly changed from what we remember hazily of the past and our uncertainty about what it will further change into and whether it will still like us then. When those concerns are presented dishonestly, however, with the romanticizing of the past and the demonizing of the current day, with an apocalyptic vision of the future that is superstitious and intellectually facile, it becomes simply an empty myth. And coming from someone in Franzen’s position, with the media platform he has open to him that includes the Internet he uses while lambasting it with scorn, it perpetuates false information about books by the very methods that he claims to fear – misleading lamentations by someone who admits he really doesn’t have a clear picture of the world about which he worries.

So that’s my rant for the day. ‘Cause that’s the thing about the Internet – a wide open field (in most countries) in which to rant. There is much that is scary about that – it certainly scares Franzen – but there is much that is glorious about it too. As long as the electricity lasts, that is.

8 Comments

September 18, 2013 · 2:59 AM

Just When You Thought Octopi, Squids and Cuttlefish Could Not Be Any Cooler

It’s a sad day today (though all our friends in that area of D.C. were okay, thank goodness,) and so for today, I am offering a fascinating science video about the extraordinary camouflage abilities of octupi, squids and cuttlefish. I knew they could hide themselves but I had no idea the extent of it. Scientists are studying it and humans of course are trying to figure out how to replicate it. Even if it weren’t showing you something amazing about them, it’s just a beautiful video altogether. Enjoy:

Leave a comment

Filed under Life, Nature

Enjoy the Song Stylings of Justin Thorne

My old online pal from SFFWorld, Justin Thorne, is in addition to being an excellent writer, a talented musician/songwriter, best known in Britain. Here’s an audio sample of several of his songs:

Justin Thorne

Leave a comment

Filed under Music

The Problems We’re Still Fighting in the Industry

Australian writer Foz Meadows is rapidly becoming a favorite columnist of mine. She’s sharp, erudite and a good researcher. Over at Black Gate Magazine’s site, Meadows gives a meditative take on the resistance to diversity in the SFF field that involves all of us, conscious and unconscious, and how the industry responds and contributes to these issues in the article “Challenging the Classics: Questioning the Arbitrary Browsing Mechanism.” And she even references me! Specifically the piece I did in July on publishers needing to prove they really do want women authors to get women authors and why, “Reality and the Welcome Sign: Gender and SFFH,” in response to an announcement from Tor UK’s editor, Julie Crisp, on diversity and SF.

But that’s not really what impressed me about the article, nice as it is. Browsing is one of the three main interactive factors of the fiction market, along with symbiosis and variety. How readers browse is therefore deeply critical to what fiction publishers do, and I hope that a lot of them and booksellers especially will consider Meadows’ piece. If we improve diversity in browsing, and in marketing and publishing fiction, we improve and increase the market, the effectiveness of browsing. I also think it’s great that Black Gate editor John O’Neil has not only taken a long critical look at his own thinking, but continues to promote the discussion of these issues, including publishing Meadows’ piece. (Plus, have you checked out the fiction at Black Gate? — it’s really good.)

The depressing side of the article is that Meadows documents the many obstacles put in the path of that improvement, and often in our own brains. These artificial obstacles hurt SFFH, they hurt YA, and they greatly limit the appeal of fiction books, by a combination of discouraging readers away from books that they are trying to sell, and making it impossible for many readers to find the interesting and diverse books that have managed to get out there.

Books survive on a combination of the appeal of our romantic notions of them as objects and entertainment/insight providers, and getting as many people as possible to ever read any of them, any kind of book, in any format. Self-reinforcing and false feedback loops that discourage reading and limit it, sink the book market.  Essentially, when booksellers insist that stories with non-white protagonists get whitewashed covers, for example, and publishers go along with that idea, they are committing sales suicide, not only for the book in question, but more importantly for the books to come. When the industry and fans promote the idea of women written books being only for women and always of poorer quality, for instance, they are sinking the market, losing huge chunks of growth. Throwing up your hands and wondering where the readers have gone when you’ve been telling them to leave and that there’s nothing for them here is creating a death spiral. While fiction stories will always survive, we could be surviving so much better, if not for absurd scripts in our heads that are put out in the market. (And it is in our heads — booksellers have no stats that the damaging marketing techniques are needed, only fears.)

It is in this area that self-publishing may be beginning to play an interesting and vital role. E-books sales are leveling off as they took up what they are going to of the mass market paperback market, and as tablet enthusiasts and electronics companies lose interest in books in favor of apps and video. And a lot of the folk who dove into the self-publishing pool have gone back out again after not selling many copies. But those who continue to experiment in that market include many authors who have found the going harder to get folk interested in trying their stuff — stories about women, non-whites, non-Western cultures, gay characters that come out in the other sectors of fiction publishing too, but which may be marketed badly. What we know is, when stories and authors who have been marginalized — and declared by many not to exist — see a real opening in the marketplace that they can get to, they’re right there. And the response is often new sales, new readers, and market growth for the whole industry.

So check out Meadows’ piece and some of the excellent articles she links to (no, not mine, the other ones,) especially this one on racism and YA book covers, “It Matters If You’re Black or White: The Racism of YA Book Covers” by YA librarian Annie Schutte.

 

 

 

 

Leave a comment

Filed under book publishing, SFFH, Women

If I Concentrate Really Hard, I Can Now Apparently Run the Planet

Your mind blower for the day. I mean, literally, a mind blower. Also an excellent holiday present:

Puzzlebox Orbit’s Mind Controlled Helicopter Toy (also being developed for things like wheelchairs and the software is open sourced so if you’ve that sort of mind, you can jump in as part of the inventing community here):

And the University of Minnesota in the U.S.’s brain-computer interface controlled robot helicopter that they are developing for wheelchairs, prosthetics, etc.:

In other words, science is fun!

 

 

Leave a comment

Filed under Life, Technology

The Scope of SFFH — A Brief Examination

The following was a response of mine to another member’s question on SFFWorld about genres, especially fantasy, and how things are classified. The response is composed of facts that I know and my opinions on such facts:

 

Back in the first part of the 20th century, a category market for SFFH developed containing a mix of comics, magazines with short fiction, and novels (often novellas) and short story collections. This category market was eventually called science fiction, largely thanks to Hugo Gernsback (of Hugo Award fame,) founding Amazing Stories in the late 1920’s. It did not contain only science fiction stories — it contained fantasy stories, horror stories, weird tales (Weird Tales magazine — a style of Gothic horror stories,) etc. The category market did not contain all or even most of the SFFH being published, especially in book form. But what it did contain were magazines and publishing imprints dedicated to specializing in SFFH. This became more and more common in the first part of the 20th century — specialized publishing, such as children’s and suspense.

Most of the books in the SFFH category market were in mass market paperback that cost about as much as the comics and magazines. The publishers who did comics and magazines and paperbacks were largely different from the publishers who did hardcovers and large paperbacks. However, after/during World War II, the paperback publishers and the hardback publishers began to merge and book publishing became somewhat more separate from magazines and comics which built itself a more specialized industry. The specialized imprints for adults, the category markets — mystery, science fiction, westerns, romance — still kept mostly to cheaper mass market paperbacks but limited hardcover runs or hardcovers for big sellers became more common. These category markets came to be called genre fiction, with them being considered genres — types of stories by general common content.

However, there was a certain social class conflict in that merging of paperback that was seen as for the masses and hardcover seen as the domain of the more literate well-off. “Genre fiction” — the specialized imprints — were seen as pulp (whether they actually used pulp styles or not,) cheap paperbacks not worth much as fiction. SFFH published in general fiction, in hardcover, was often declared not pulp and therefore not science fiction, not genre, even though it was also being sold to category market readers who loved it as genre. To this day, a lot of people are invested in that notion that came out of early bookselling and the equalitarianism of increased literacy and education of the society. “Genre fiction” was considered all the same, whatever notion of sameness a particular person had.

All of this was reinforced by the use of the term “sci-fi” which came from writer Forrest J. Ackerman in the 1950’s, and which referred partly to the greater use of SFFH in movies and television, particularly what was seen as the “B” pulp horror movies. Over time, the term was used mainly to refer to movies and television and was often used as an insult to indicate stuff that was not well made and for the teeming masses. Written SFFH preferred to distance itself from movie/tv sci-fi by insisting on being called science fiction or SF. During this time, science fiction and sci-fi both acted as umbrella terms meaning fantasy and horror as well as science fiction.

That began to change in the 1960’s, when the publishers of the SF category market decided to branch out. They launched a separate but allied fantasy fiction category market, labeling fantasy stories directly as fantasy. There had been magazines dedicated to just fantasy or horror, and there were more of them. The fantasy category market was greatly helped out by publishing then-cult favorite later-Godzilla title The Lord of the Rings by J.R.R. Tolkien in a set of paperbacks, both in the U.K. and twice in the U.S., once illegally and once legally. It was additionally helped out in the 1970’s by the popularity of the role playing game Dungeons & Dragons, the development of the gaming industry and the idea of tie-in novels to help market games. Category market fantasy was sold with science fiction in the category market section of U.S. bookstores — there was less separatization in other countries as they often didn’t have special sections. Horror did not have enough dependable fans to form a steady category market of its own for a long time, although horror titles often sold better than SF and fantasy (see Stephen King, Clive Barker and Dean Koontz.) Horror was sold either with SFF in the category market if it came from a specialized imprint or a lot of it in paperback general fiction.

The fantasy category market hit high speed in the 1980’s and being a young market, was one of the few that kept growing during the Great Paperback Depression in the 1990’s, when the wholesale non-bookstore markets in most western countries shrank with great speed, greatly damaging the mass market paperback market, the paperback fiction market and the largely paperback SFF category markets. (Also, it was a firm blow to the declining SFFH magazine market and other magazines.) Fantasy’s growth for the first half of the 1990’s during the depression relied on well selling “epic” fantasy series — secondary world fantasy stories usually in a pre-industrial setting — novels by Robert Jordan, Tad Williams, Weiss & Hickman, etc.

The secondary world fantasies of this type had their obvious roots in mythic ballads and what Tolkien and others had done with them, but they also had their roots in planetary and what was called romance science fiction, such as John Carter on Mars, etc., which also lead eventually to some of what we today call space opera science fiction. There were fantasy series like Robert Silverberg’s Lord Valentine’s Castle and Andre Norton’s Witch World that were also the descendents of the planetary fiction and were initially sold as science fiction. There were the very fantasy-like science fiction series of Gene Wolfe’s Ur-Sun and New Sun, Anne McCaffrey’s Pern books and Marion Zimmer Bradley’s Darkover series, which were often the inspiration for secondary world fantasy writers like Guy Gavriel Kay. Telepathy, time travel, vampires, multiple dimensions, alternate histories and the like all could be given a scientific or supernatural basis and so were used for both science fiction or fantasy (or SF or fantasy horror.) So there is crossover in the foothills with the slightest of words and it isn’t usually a problem. A large majority of the writers wrote both SF and fantasy stories, and often horror and suspense stories as well. (And this still goes on today.)

Since the two category markets worked together and had the same publishers and had a lot of cross marketing and were sold in the same sections of bookstores, there were groups of people desperately trying to separate them (especially SF fans who regarded the popularity of fantasy as a threat rather than a help and fantasy fans who regard SF fans as snobs,) while others insisted that they should all still be considered science fiction or floated new terms like slipstream (weird surrealism literary movement,) or speculative, none of which particularly caught on as an umbrella term. SFFH books published in general fiction were cross-marketed with books in the category market imprints — for publishers, there’s no difference between a hardcover SFFH novel published by one of their fiction imprints and a paperback SFFH novel published by their category imprint. But they will give them different packaging and some marketing efforts to capture audiences who might be looking specifically for a hardcover fantasy novel that seems general fiction or a paperback with a bright cover sold in the special section of the bookstore, while selling the hardcover to the category audience too or the paperback to the general fiction audience too. (It’s really a giant shell game.)

In the late 1990’s, as had been predicted, booksellers started splitting the SF and fantasy category markets into two separate sections. This allowed the booksellers to do what booksellers like to do with category markets, why category markets exist in the first place — expand the shelves with offerings but also make them easy for interested folks to find. Having a fantasy section and a science fiction section meant twice as many shelves, although it did make it a bit complicated with the writers who did both. In the late oughts, things were going so well in these category markets that the specialized publishers decided to expand into another dedicated category market — horror. The renewed popularity of horror movies and the crossover interest from contemporary fantasy, horror SF and dark fantasy meant there was a solid core audience willing to explore with new authors, which is the starting place for a category market.

Around the same time, in the late 1990’s, romance category publishers expanded their imprints that did supernatural (or as it got eventually named paranormal) and SF romance. So popular was this area that in the mid-oughts it got its own category market and often its own section in the bookstores. The SF romance was slower off the block than the fantasy, but is now catching up. The paranormal romance expansion coincided with the horror expansion and the contemporary and urban fantasy expansion. And all of this also came on top of the expansion of YA fiction. YA was the sleepy, small part of children’s fiction, but with Harry Potter moving from middle school to YA in focus and other YA books (SFF and not-SFF) getting attention in its wake and the Potter movie adaptations, YA became the juggernaut of children’s fiction. Fantasy YA was a driving force there, but YA SF was also immensely popular. So large has the audience become, that we are beginning to see some bookstores split fantasy and science fiction from the rest of YA and have separate fantasy and science fiction YA sections. The crossover reading between adults and teens/kids in the YA market sent readers back and forth between children’s and adult sectors and lots of crossmarketing, bolstered by the increasing interest of film/t.v. in SFFH both adult and YA. (And then there was Marvel Films and what happened between movies and comics.)

A lot of people who came into reading fantasy in the late 1980’s and the early 1990’s read just the big secondary world pre-industrial war epics and tended to think that was all there was in the fantasy category market. However, fantasy has always had numerous types of setting and its “sub-genres” or sub-categories are all setting based. The big general seven are secondary world fantasy — both pre- and post-industrial; historical or alt history fantasy; contemporary fantasy/urban fantasy; dark fantasy — a dark, moody, sometimes violent setting sold as either part of the horror market or the fantasy market; comic/satiric fantasy with a comic setting; portal/multi-dimensional fantasy in which people travel between different realms/worlds; and lastly futuristic fantasy which takes place in a setting in Earth’s future or a dimension involving space travel. (Futuristic fantasy tends to be largely post-apocalyptic and this often confuses people who see any kind of post-apocalypse as science fiction, especially in a future Earth.) Right now, the biggest sector of fantasy is the contemporary fantasy, not secondary world. However, secondary world fantasy (still largely but not exclusively pre-industrial,) is still the flagship of that category market. Historical fantasy is also quite large, especially its industrial/steampunk/western division.

Science fiction, in slight contrast, is loosely divided by types/use of science. Hard SF focuses on the physical sciences of physics, biology and chemistry. Sociological SF focuses on cultural, political and psychological issues related to physical science. Cyberpunk (which is also a literary movement,) focuses on the cultural, political and sometimes biological effects of technology and computers, specifically in regards to young people, dystopias and revolutions. Military SF — what it says on the tin. Comic/satiric SF and horror SF, and SF romance. And space opera refers to a wide swath of SF stories that are more focused on adventure than a branch of science, which would include the planetary SF stories that sometimes seem fantasy-like to some people. There is also post-apocalyptic SF, one of its most popular sectors. Alternative history SF postulates a quantum theory of multiple-dimensions which allows for a changed Earth that is not supernatural in any way.

So why am I taking you the long way round on this topic? Because it may be helpful in understanding why people have the differing views of terms that they do and what exactly is going on in the market now and how we got there.

So basically, science fiction is those stories in which the unreal phenomena are given a scientific explanation for existing that is clear and definite as scientific, natural, even if the science is not detailed or strongly physical science or particularly good science. And fantasy uses elements where the explanation basis is supernatural, not having a natural explanation and basis — magic, supernatural and divine phenomena. You can have a fantasy story with a lot of SF elements, because the SF is natural, just like real existing things such as a car or a dog. But you cannot have a SF story with fantasy elements because the definition of SF is unreal elements with a natural basis and fantasy elements are unreal with a supernatural basis, outside SF’s purview. When you get into really squishy stories, it really doesn’t matter to readers much — and this is often an issue with slipstream — but that’s how the orientation works. Horror can be anything — science fiction, fantasy or neither and just using suspense such as serial killers. Most horror is fantasy horror, but it’s not exclusive.

So the first suggestion I’d have for you is to drop the term sci-fi. It’s really focused on tv/movies and it means fantasy, science fiction and horror together. Since you’re dealing with the written market, where sci-fi is seldom used as a term, it’s not going to be particularly helpful to you. Let’s look first at some of the other ones you mentioned:

1) China Mieville — Mieville’s rather useful for talking about various movements and sub-genres. Mieville is heavily influenced by Weird Fiction, which is a literary movement, originally centered around but not limited to the magazine Weird Tales, and sub-genre of horror of the Gothic, creepy, monsters, deep depression, weird surrealism kind. It is an ancestor of slipstream (which gets loosely described as weird surreal stories,) SF horror and dark fantasy. It’s also had an influence in other areas such as some steampunk. Mieville also has a mentor in legendary author and editor Michael Moorcock. Moorcock in many ways launched a New Weird movement itself in reviving Weird Fiction (though it wasn’t called that,) and more, he was a driving force through his editing of the New Wave SF movement. This was a literary movement in the late 50’s to 1970’s around the thematic concepts first of artistic writing in reaction to the blunter SF stories of the earlier part of the century, and second of the social ideas of the Beats and the counterculture — exploring cultural norms and conformity, liberalized sex, revolution, drugs, etc. The New Wave authors were writing mostly sociological SF, occasionally with a hard edge and occasionally space opera.

Steampunk was a name made up by author K.W. Jeter for some of the sort of stories he and other authors like Tim Powers and James Blaylock were sometimes doing. It was a deliberate play on cyberpunk, and while the two movements have some similarities, steampunk was not a non-computer version of cyberpunk. Unlike cyberpunk, steampunk could be either fantasy or science fiction in mainly the alternate history version. In steampunk, the main thing is the aesthetic of steam technology and anachronisms/inventions in relation to steam technology, which has spread beyond storytelling at this point. Mieville has a lot of interest in colonialism and its destruction, the rot of cities, etc., and so steampunk has been an influence for some of the things he was doing.

Perdido Street Station, the novel which vaulted him up into prominence, is a fantasy novel, which blends weird tales horror, New Wave SF attributes and a steampunk story. It is specifically a post-industrial secondary world fantasy novel, Victoriana flavor. And the whole line is that it’s a post-industrial secondary world dark dystopia steampunk thriller fantasy, and a good one at that. It’s not a new form, but it has really interesting themes. Mieville does a bit of cuteness by having the magic elements in his story studied academically and coming up with equations for them. However, these equations do not offer a natural basis for the existence of the unnatural phenomena that defies the natural laws of Mieville’s world. It’s simply magic that can be analyzed and manipulated, by will without a natural world explanation or basis. He also has sentient robots, but they are that way again through a combo of electricity and magic. (Magic robots are not new to fantasy fiction.) But because of that sort of thing, which is reminiscent of The Compleat Enchanter by de Camp and Pratt, some SF fans regarded Perdido as SF, and some fantasy fans declared it not fantasy because no elves and the world was post-industrial. That steampunk crosses into SF or fantasy also added to this impression. Some of Mieville’s other work may be SF, but his city trilogy is fantasy.

When Perdido Street Station got such attention, Mieville regarded it as the chance to jumpstart a conversation about experimentation and advocated a new literary movement in SFF that he called New Weird, essentially a new, somewhat different version of Weird Fiction, somewhat in line with New Wave SF, and encompassing SF horror, surrealism (slipstream,) dark fantasy, dystopia SF, etc. (not necessarily steampunk or alternate history SF.) A lot of people were interested in this — Jeff Vandermeer did things with it, there were some anthologies, publishers started slapping the term on things. But because Mieville’s definition of the movement was deliberately nebulous, and because he was not editing a magazine as Moorcock had done to shape the fiction of a group of authors into something more thematically consistent, it never really coalesced. It certainly was an influence, as Mieville’s work has been, and the term is sometimes still used, but Mieville basically tossed in the towel and said he was done with it as it hadn’t really developed.

2) Dune is the venerated elder of space opera and a descendent of planetary SF. While the science in Dune is certainly shaky, it is actually based on natural science theory — quantum theory and environmental biology, which Herbert researched. Everything in Dune — the mental powers, the spice, the worms, etc., is given a natural basis explanation. There is nothing magical in the story, though some characters are superstitious. Some fantasy readers quite naturally like Dune, with its desert adventure and grand houses, but like Wolf’s Ur-Sun, it’s SF of a particular type.

3) C.S. Friedman’s Coldfire Trilogy is also SF, again in the loose category of space opera. The natural explanation for the phenomena in her doomed colony planet is based on quantum theory, physics and neurology, with the idea of energy in a natural planetary energy field which can be absorbed and channeled through conscious minds into solid matter. It’s pretty shaky science again, but she did base it on actual theories. Many fantasy readers, however, treated it as another Lord Valentine’s Castle and declared it fantasy. Friedman basically threw up her hands and accepted that people could view it as they liked. She has written military SF — In Conquest Born — and fantasy novels as well.

Pure surrealism and magic realism are fantasy stories. Surrealism that then develops into a natural explanation for the surreal heads into SF. Slipstream may encompass both SF and fantasy based stories, but it has also been a rather nebulous literary movement. Sentience is an area of particular interest to SF, the idea that sentience could develop naturally, scientifically in entities we would not normally expect, such as computer networks. Therefore, when you write a story about a space colony in which a body of water is sentient — if it seemed that you were giving a natural explanation for how that body of water can have an intelligent consciousness in the story, then readers might regard the story as SF. Even if you don’t, it might, yes, be assumed it’s SF because it’s on a space colony and the supernatural elements are not clearly delineated. If you had a ghost for instance that was inhabiting the body of water, that would be more clearly delineated as supernatural, although even then some might claim it to be SF.

The setting of a space colony is a SF element but does not guarantee that the story isn’t fantasy based. A medieval (pre-industrial) setting could be in a historical fiction story that has no unreal elements or even an alternate history SF story; the medieval setting does not make something fantasy and there are thousands of fantasy novels that have no medieval setting. (Go to a search engine or Amazon, etc., and type in the phrase contemporary fantasy.) However, when people have data sets about these things, it can effect their perception. But perception is not the whole market.

Using the term a futuristic fantasy story may help others understand what you are going for. I would also suggest that you check out some of the titles I’ve mentioned earlier and some of these as well maybe, so you can start to get a feel for the range (you don’t have to read them all, but take a look at them and be aware perhaps:

Emma Bull — Bone Dance — futuristic post-apocalypse fantasy
Stephen R. Boyett — Ariel, sequel Elegy Beach — futuristic post-apocalypse fantasy
Terry Brooks — The Sword of Shannara — futuristic post-apocalypse fantasy
Patricia Kennealy-Morrison — The Keltiad series — futuristic fantasy in another star system
Liz Williams — Inspector Chen series — near future, alternate history thriller fantasy
Genevieve Valentine — Mechanique — post-apocalyptic fantasy in either an Earth-like secondary world or future Earth
(she keeps it vague on purpose)
Kameron Hurley — God’s War series — futuristic fantasy (another one lots of people feel is science fiction; this would be an interesting one for you)
Charles Yu — How to Live Safely in a Science Fictional Universe — meta, surrealistic quantum science fiction
Hannu Rajaniemi — The Quantum Thief — quantum based cyberpunk (may have some bits in the general neighborhood of your story)
Tad Williams — Otherland series — VR science fiction (Williams is a big fantasy writer so a lot of fans insist that Otherland is fantasy because of medieval settings in the virtual reality system)
C.J. Cherryh — Rider at the Gate series — planetary sociological SF in the same neighborhood as Coldfire (fantasy-like)
Gayle Greeno — Ghatto series — space opera political thrillers with psi abilities (fantasy-like)

These may be of less use to you, but give you an idea of some of the things being done:

Cathrynne Valente — Palimpsest — multi-dimensional fantasy
Michael Swanwick — The Iron Dragon’s Daughter — multi-dimensional fantasy
Tim Powers — Declare — historical fantasy (World War II-Cold War)
Roger Zelazny — Princes of Amber series — multi-dimensional with futuristic elements fantasy
Michael Moorcock — Eternal Champion Multiverse series — multi-dimensional fantasy with futuristic elements
Stephen King — Dark Tower series — multi-dimensional fantasy includes futuristic elements
Matthew Stover — Caine series — multi-dimensional fantasy series
Carrie Vaughn — Discord’s Apple — alternate Earth near future fantasy novel
Charles Stross — Laundry Files series — multi-dimensional satiric spy fantasy
Kelly McCullough — WebMage series — an oughts version of computer based contemporary fantasy
Cory Doctorow — Someone Comes to Town, Someone Leaves Town — surrealism
Hal Duncan — Vellum and Ink — multi-dimensional fantasy with surrealism elements

SFFH — it’s a big wide world.

 

(Do check out some of the authors above even if your interest in the topic is limited — good stuff.)

Leave a comment

Filed under book publishing, SFFH, SFFH Novels to Check Out, Writing