That’s the basis of Kris Rusch’s piece Rethinking the Writing Business: Part 1 over at Kris Writes. We authors are looking at ourselves as publishers, or working with publishers and trying to match their take.
Nope. Wrong. Too limited. Read more
According to the science fiction book reviewer for the Wall Street Journal, space opera is dead. In his defense, he was reviewing a book from Tor and generally only reviews books from the Big 5 imprints, and Pyr. The book had been listed as “space opera,” leading him to muse on Niven and Heinlein, Frank Herbert and Jerry Pournelle and James Schmitz. Did anyone write about Moties and ray-guns and wild adventure on strange new worlds anymore? What about galaxy-spanning empires and questions of galactic import? If the review book was an example, well… The book was not bad, but it was not space opera. The reviewer finishes by saying that the Dorsai and Kzinti are long-lost and gone. We don’t have the willing suspension of disbelief and the “macho sub-genre.”
As I said, in his defense, he reads Big 5 imprints and a very few small presses. Read more
After getting a few reviews of Scaling the Rim that graded it as a romance, not a science fiction book, I got curious. So, the past few months I’ve been reading several Romances, subcategory SF to try to figure out the difference between Science Fiction, subcategory romance and Romance, subcategory science fiction. At first glance, you’d think they’d be the same thing, but they’re very, very different – the reader cookies (what makes readers happy) aren’t even on the same page.
In the Romance genre, not only is the emphasis completely and totally on the couple’s relationship (duh, it’s romance), but the worlds have an extremely limited amount of worldbuilding, and a huge amount of handwavium, with far higher tolerance for psychic this or psionic that. (In that way, it reminds me a lot of the old scientifiction, speculative fiction, and pocket books of barely 40-50K words that were one step removed from collected issues of pulps – or were pulp stories fleshed out into books. Jack Vance had no problem with magic in his far-future dying earth!) Read more
Every once in a while, someone will tout the benefits of going with a small or really small press, rather than either scaling the Big 5 wall or going purely indie. So, what is it like from the small press’ end?
From Richard Charkin at Mensch Publishing:
Lesson 1. Finding the right book is by far the most important thing, but getting the small things right is vital and unbelievably hard work. . .
Lesson 3. Treat your suppliers with respect. I’ve taken a policy decision to pay cash owed into a freelancer’s account the same day I receive the invoice. My cash flow is important but respecting other people’s cash flow generates goodwill, and better relationships are vital for a small enterprise—perhaps for big enterprises too.
In unintended contrast, is the following…
I should know; I flunked out of rocket science as a major, but I manage to do okay at writing blurbs!
Consider the following a basic primer in blurb writing; I am no master or guru, but while all my author friends are putting out their 5th or 15th story, I am putting out my 35th blurb attached to it. And with enough practice, you can get skilled at something. Read more