Next in my ramblings about fiction authors dealing with publishing options and factors from the SFFWorld thread conversation, this one dealing with literary agents:
Category Archives: book publishing
Over at the SFFWorld.com forums, an author looking at different ways of proceeding in fiction book publishing asked for information regarding a number of basic questions about book publishing. You can check out that discussion thread here, and the conversation is not necessarily done as I’m sure more questions may come up, but I am also going to reprint my responses to various questions here. While many may find the info basic, it ended up being a decent foundational outline of things authors have to understand and consider in business decisions in fiction publishing. And so it may be of some interest to writers navigating the waters or those simply curious about how the odd industry of fiction publishing operates. Part 1 below:
The Nebula Awards, including the Ray Bradbury Award for Dramatic Presentation and the Andre Norton Award for Young Adult SFF, announced their short list nominees today:
Best Novel (Long Form):
Raising Caine, Charles E. Gannon (Baen)
The Fifth Season, N.K. Jemisin (Orbit US; Orbit UK)
Ancillary Mercy, Ann Leckie (Orbit US; Orbit UK)
The Grace of Kings, Ken Liu (Saga)
Uprooted, Naomi Novik (Del Rey)
Barsk: The Elephants’ Graveyard, Lawrence M. Schoen (Tor)
Updraft, Fran Wilde (Tor)
Wings of Sorrow and Bone, Beth Cato (Harper Voyager Impulse)
“The Bone Swans of Amandale,” C.S.E. Cooney (Bone Swans)
“The New Mother,” Eugene Fischer (Asimov’s 4-5/15)
“The Pauper Prince and the Eucalyptus Jinn,” Usman T. Malik (Tor.com 4/22/15)
Binti, Nnedi Okorafor (Tor.com)
“Waters of Versailles,” Kelly Robson (Tor.com 6/10/15)
“Rattlesnakes and Men,” Michael Bishop (Asimov’s 2/15)
“And You Shall Know Her by the Trail of Dead,” Brooke Bolander (Lightspeed 2/15)
“Grandmother-nai-Leylit’s Cloth of Winds,” Rose Lemberg (Beneath Ceaseless Skies 6/11/15)
“The Ladies’ Aquatic Gardening Society,” Henry Lien (Asimov’s 6/15)
“The Deepwater Bride,” Tamsyn Muir (F&SF 7-8/15)
“Our Lady of the Open Road,” Sarah Pinsker (Asimov’s 6/15)
Best Short Story:
“Madeleine,” Amal El-Mohtar (Lightspeed 6/15)
“Cat Pictures Please,” Naomi Kritzer (Clarkesworld 1/15)
“Damage,” David D. Levine (Tor.com 1/21/15)
“When Your Child Strays From God,” Sam J. Miller (Clarkesworld 7/15)
“Today I Am Paul,” Martin L. Shoemaker (Clarkesworld 8/15)
“Hungry Daughters of Starving Mothers,” Alyssa Wong (Nightmare 10/15)
Ray Bradbury Award for Outstanding Dramatic Presentation:
Ex Machina, Written by Alex Garland
Inside Out, Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original Story by Pete Docter, Ronnie del Carmen
Jessica Jones: AKA Smile, Teleplay by Scott Reynolds & Melissa Rosenberg; Story by Jamie King & Scott Reynolds
Mad Max: Fury Road, Written by George Miller, Brendan McCarthy, Nick Lathouris
The Martian, Screenplay by Drew Goddard
Star Wars: The Force Awakens, Written by Lawrence Kasdan & J.J. Abrams and Michael Arndt
Andre Norton Award for Young Adult Science Fiction and Fantasy:
Seriously Wicked, Tina Connolly (Tor Teen)
Court of Fives, Kate Elliott (Little, Brown)
Cuckoo Song, Frances Hardinge (Macmillan UK 5/14; Amulet)
Archivist Wasp, Nicole Kornher-Stace (Big Mouth House)
Zeroboxer, Fonda Lee (Flux)
Shadowshaper, Daniel José Older (Levine)
Bone Gap, Laura Ruby (Balzer + Bray)
Nimona, Noelle Stevenson (HarperTeen)
Updraft, Fran Wilde (Tor)
And the Damon Knight Memorial Grand Master Award is being given this year to C.J. Cherryh, which is highly pleasing and well deserved.
I am ill, so this mock Twitter battle cheered me up. It’s between publicists at small Brooklyn press Melville House and giant Penguin Random House. Pretty sure these two people probably know each other — book publishing is a small industry. Click and enjoy:
Here are links to articles on writing and publishing that I found interesting. (Writing neepery, in other words. Much more pleasant than Hugo neepery, really.)
The Internet is full of words, you see. We raised the young people on them.
Chuck Wendig offers helpful suggestions about dealing with reviews to writers.
However, Foz Meadows, who just got a two book deal, does take Chuck to task on there being no rules for writing fiction. (This one’s for you, Andrew! She writes better than I do, but given it’s her blog it was on, she has more curse words.) This is a regular problem — Chuck is a terrific fiction writer, just did the new tie-in novel for Star Wars — but writers, when asked for advice or proferring it, often fall into the form of ordering it to give it a more authoritative bounce. It does more harm than they realize, so I appreciate Foz addressing this.
Chris Brecheen wrote to a woman writer who wanted, get this, J.K. Rowling to retire because she believed it would give other writers a better chance. Brecheen explained how fiction publishing actually works, and that it’s not a competition, which is actually helpful for a wider pool of authors than you might think.
Daniel Jose´ Older offers advice that is also very helpful to a lot of writers dealing with the endless time crunch of life.
Food for thought! Hope all your evenings are warm and safe and welcoming, folks.
During most of the Great Hugo Campaign That Wasn’t that spun out of the “hope we get the conservative media pundits interested” mess that were the Puppies, I was really busy, some good and some bad. I would talk about the situation in various spots when I had the chance, and it certainly made for a particular type of entertainment, but I wasn’t about to try to fully hop in. And now that the Hugos have been handed out for 2015 and the Puppies are trying to figure out how to keep things going while whining about the new Star Wars tie-in novel from Chuck Wendig having a gay protagonist, I’m not inclined to hash things out further. Not specifically about them any-hoo. The more general topic of discrimination, I have some things to say, when I can get to it.
But I do have some links I collected of other people writing about the whole Hugo thing that I thought were informative and cogent over the seven months of deep, deep puppy whining and spitting. So in case you missed them, you can peruse at your leisure:
Then, there is Amal El-Mohtar‘s take on the Puppies.
And Philip Sandifer‘s angry cultural takedown of the Puppies, which got him his own nickname from them.
Sandy Ryalls on a blog at BlackGate.com commented on the heart of the conflict.
Author K. Tempest Bradford pointed out unintended consequences from the Puppies’ assault on the Hugos.
Author Jim C. Hines took a close look at what the Puppies were actually saying.
M.D. Laclan at FantasyFaction.com looks at the cultural timeline and how both past and future SF does not fit the Puppies’ narrative.
Author and screenwriter David Mack offers a detailed analysis of why Puppy nominee and participant Amanda Green’s essay on his Star Trek novel that she put in her Hugo Fan Writer nominee packet is full of hot air. (This fits with what Green is now trying to do with Chuck Wendig and what the Puppies tried to claim about Star Trek in general.)
Author Tobias Bucknell explains why the image of SFF fandom as a safe place free of attacks like the Puppies’ was always a myth.
Kevin Standlee explains how the Puppies’ mercantile demands show they don’t understand the nature of the Hugo Awards at all.
Miles Schneiderman covered the whole debacle for YesMagazine.org.
Cartoonist and writer Barry Deutsch looks at the up-coming Sad Puppies IV for next year and explains why it’s still a voting slate attempt.
And writer and game designer Alexandra Erin wrote several very intelligent pieces about the Puppies and also provided some brilliant satire during the whole ordeal:
If you do wade through all that, do not despair in the end. The Hugo Awards are fine. And fandom isn’t any more split than it was before. It’s just now those divisions are a bit more out in the open, with the aid of Internet screaming. That’s not, necessarily, a bad thing, although it makes it a little tricky for the publishers. But they could use some shaking up, frankly. They are the ones who have produced a SFF field that is 90% white people, mostly writing about white people.