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Welcome to this God damned blog!

Welcome!

If you’re here, you no doubt know that all proper authors have a website for purposes of proportionate promotion and promiscuity. Ergo, I, being a filthy deviant, have nothing quite so awesome to show you at the moment. Rest assured, though, that such a website is coming, in due time, and when it arrives you will lose your freaking shiz all over the place.

Until that time, though, please glut yourself with all things Sam Sykes-related at this blog. I can personally guarantee you, on pain of someone else’s death, that all things book, author and opinion-related can and will be found on this blog until we can get something better out.

Mighty Webmaster Matt is working on it as we speak. Bear with us!

With great love comes great apologies,
Sam Sykes

Welcome to this God damned blog! Read More »

Science Fiction is Dead! Long Live Science Fiction!

So writes Paul Goat Allen in Unabashedly Bookish, the B&N Book Club blog. He quotes Orson Scott Card as saying that science fiction is “no longer a cutting-edge genre – the edge is now in fantasy.” Then Goat praises Ken Scholes’ Psalms of Isaak saga as being “actually post-apocalyptic science fiction cloaked in grand-scale fantasy.”

I’m not sure I’m onboard with Goat’s position, though I agree with his conclusion, that, “the hybridization of genres that I blogged about a few months ago – It’s the End of Genre Fiction As We Know It – and I Feel Fine – has affected science fiction just as noticeably as fantasy, mystery and romance. But it’s a good thing. It’s bringing the originality, the sense of wonder – and, most importantly, the readers – back to science fiction. Science Fiction is dead. Long live Science Fiction!”

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Genreville: Ask a Publicist

Over at Genreville, PW‘s Rose Fox’s latest Ask a Publicist column asks, “What Are the Publicity Advantages and Disadvantages of Your Company’s Size and Position in the Market?” Our own Jill Maxick kicks off the comments, but there are also responses from Gavin Grant (Small Beer), Corinda Carfora (Baen), Vincent W. Rospond (BL Publishing/Solaris), William Schafer (Subterranean), Vera Nazarian (Norilana) and others.

Here’s a sample of Jill’s response:

As a small to midsize press, it may be easier for us to establish a unique identity and brand (for many reasons: easier to maintain consistency and control; people tend to be more comfortable being fans of boutique operations rather than multinational conglomerates; etc.). There’s less bureaucracy to deal with when making decisions or brainstorming ideas.

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The Politics of Fantasy and Books You Read Twice

Author James Enge, whose Blood of Ambrosecomes out from Pyr this coming Spring, guest-blogs at Deep Genre.

Here’s a sample:

Fantasy is most effective when it acts through symbols that rest pretty deep in the awareness (or beneath the awareness, if you buy into the whole subconscious thing). At the center of every adult’s emotional life is a struggle for autonomy that occurs in adolescence. One may be struggling against well-meaning (or not so well-meaning) caregivers who are reluctant to surrender their authority. One may be raised in perfect environment that encourages autonomy and self-responsibility, but one still has to go out and face the world, make one’s place in it. Somehow, this is part of everyone’s story.

Why do so many fantasies involve young sons of widows who grow up to kill the monster, defeat the king, marry the princess and rule the kingdom happily ever after? Some point out that these stories are very old; this is true, but it’s just begging the question. A story appeals to audiences because it speaks to them emotionally. Why does this story appeal to modern audiences or ancient ones?

It appeals to them because it’s a symbolic representation of the struggle for autonomy that everybody engages in. The kingdom isn’t necessarily a kingdom; it’s just a life where you get to decide what happens. The princess isn’t a princess; she’s the hot checkout lady at the grocery store or maybe the likeable mechanic at the gas station, depending on how you roll. In fact, the hero may be a daughter, more like Atalanta or Camilla, nowadays: the dynamic of the story is essentially unchanged. The story has a wide appeal because its symbols are wired into emotional hot-buttons that are part of everybody’s life.

Meanwhile, Yours Truly is one of several authors to partake of SFSignal’s latest Mind Meld. This one asks, “Which speculative fiction books are worth reading twice? Why?” Answers are from Louise Marley, Cheryl Morgan, James E. Gunn, Gardner Dozois, Sarah Langan, Abigail Nussbaum, Anna Genoese, Scott Edelman, Jo Graham, and Dominic Green. Not surprisingly Dune, Lord of the Rings, and Mists of Avalon appear several times across everyone’s lists. And Cheryl Morgan sums up the problems of rereading nicely:

I have too many books. Probably more books that I will be able to read in the rest of my allotted span as a living human (though I entertain hopes of being uploaded in some way or another). In order to read a book for a second time, therefore, I have to make a conscious decision not to read a book that I haven’t yet read. That’s a hard thing to do.

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Does Nostalgia Do SF a Disservice?

Over on Futurismic, Paul Raven points to a post by Ian Sales saying, “Readers new to the genre are not served well by recommendations to read Isaac Asimov, EE ‘Doc’ Smith, Robert Heinlein, or the like. Such fiction is no longer relevant, is often written with sensibilities offensive to modern readers, usually has painfully bad prose, and is mostly hard to find because it’s out of print. A better recommendation would be a current author – such as Richard Morgan, Alastair Reynolds, Iain M Banks, Ken MacLeod, Stephen Baxter, and so on.”

To which I say, “Amen.”

I was in Barnes & Noble some months back and bumped into a friend of mine with his daughter. He told me she had been assigned Fahrenheit 451 at school, to which I replied, “You poor girl. You are going to hate it. It’s about an old man whining that his wife watches too many soap operas, and nothing happens it it until the cities arbitrarily blow up at the end on cue. Please don’t think that’s the sort of thing I do for a living. Come with me.” Then I walked her over to a display of Scott Westerfeld’s Uglies books and said, “Here, this is much more representative of contemporary SF. Try this.”

I bumped into them a month later and asked how it went. I found out that, as predicted, she hated the Bradbury, but they were there so she could pick up the third book in the Uglies series. She is now an avid Westerfeld fan.

This isn’t to say that I didn’t enjoy Bradbury, or that it is not of historical importance, or that *working professionals* in the SF field and wanna-be-writers don’t have a responsibility to know their history so they don’t struggle to reinvent the wheel, but half-a-century old fiction is NOT the starting point for newbies who have never encountered the genre before. People coming in cold, particularly people coming in from positive encounters with media SF&F, ought to start with contemporary writers. When I set about to recommend books to new SF&F readers, I typically ask them what kind of films they like and then pair them on that basis. The Matrix? Try Charles Stross, Karl Schroeder, Ian McDonald, Cory Doctorow, etc… Buffy the Vampire Slayer? How about Jim Butcher, Patricia Briggs, Justina Robson. Star Wars? How about Gardner Dozois and Jonathan Strahan’s The New Space Opera, or the works of Karen Traviss? Firefly/Serenity? – Mike Resnick’s Santiago books, and his current Starship series. Eternal Sunshine of the Spotless Mind/Being John Malkovich? Something by Jonathan Lethem, maybe As She Crawled Across the Table.

I have met so many people, who when they learn what I do, tell me “Oh, I tried science fiction once. I didn’t like it.” When I asked them what they read, they invariably say they went into the SF&F section, started at the A’s, and grabbed the first thing they recognized – Isaac Asimov. Tried it, and found it cold and dated.

Again, this is NOT to say that the enthusiast, the purest, the aficionado, the die-hard, the wanna be, the professional, the completist shouldn’t read the A,B,C’s of the Golden Age, or that those texts no longer have anything to say to us, only that if someone came to me having just seen The Bourne Ultimatum and wanted to know what contemporary spy novels he or she should read for more of the same, I wouldn’t start him or her off with Joseph Conrad’s The Secret Agent. (If they *end* up there, fine, but I wouldn’t *start* them there).

I think matching them with the analogous movie works best (produces better results than asking people what sort of “mainstream” they read), though 9 times out of 10, you’d do just as well to just hand them John Scalzi’s Old Man’s War.

Does Nostalgia Do SF a Disservice? Read More »

Behold the Man: John Picacio

John Picacio guests on Stargate: Atlantis executive producer Joseph Mallozzi’s blog. John answers questions from Mallozzi’s readers – all his comments are well worth checking out.

Meanwhile, here’s a taste: “There’s another shift that happened around the early-90’s, right around the time when Chip Kidd and the Knopf design staff was making a big splash with their Random House covers. I think an unfair stigma was placed on illustration as being an element that ‘limited’ a book to a genre audience, and publishers therefore relied more and more on stock photography and in-house designers to create covers. In the process, they lost sight of the full potential of original drawings and paintings to sell product in the marketplace. Kidd’s a smart designer, but I often wonder if he perhaps helped spread that stigma in interviews because it glorified designers like him, at the expense of illustration. The fact is, publishing still thinks this way today and I think it’s a self-fulfilling prophecy that stunts the growth of ideas, profit, and outreach. Somewhere along the way there, publishers generated this self-fulfilling prophecy that illustration limited audiences. Perhaps it’s just a nice story that helps them cut costs and save in-house jobs? The fact is, there are dozens of examples of illustrators who didn’t limit audiences, but instead transcended time and context, and expanded audience and profit. The list is long and diverse – try J.C. Leyendecker in the 1910’s, Norman Rockwell in the 1940’s, the aforementioned Powers in the 1950’s, and Dave McKean in the 1990’s, to name only a few off the top of my head. We’re talking about revolutionary cover artists of their time with huge critical and commercial impact that exploded the growth of their publications beyond the existing audience. So if it’s possible in those eras, why say that today’s mainstream audiences aren’t sophisticated enough to embrace progressive, original illustration?”

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Heard Round the Web

On her blog, science fiction author Nancy Kress discusses, “The Point of Fiction.” She opinions, “It is: to decide what matters. Fiction explores this point through all sorts of subsidiary questions: What is worth expending effort on, struggling to obtain, sacrificing other things for, maybe even dying for?”

I am interested in this, and in how it can be applied to the specific Point of Science Fiction.

Meanwhile, Of Blog of the Fallen asks “Do SF/F authors have to be SF/F fans in order to be good writers?” Lots of interesting comments, and lots of names you may recognize in the comments as well – including Solaris book’s Mark Newton and The First Law trilogy scribe Joe Abercrombie. My own opinion, expressed a few times already therein, that while there is no point reinventing the wheel, a good book is its own justification. And a bad book, well…

Finally, speaking of Joe Abercrombie, here he is speaking to SFX. A sample, from his advice to writers: “The best thing I’ve found, if you’re not writing anything good, is just to sit in front of it and write something bad. Put in some chair time. Then when you come back later in a better frame of mind, you may find some gems in the rubbish you produced. You may even find what you wrote isn’t that bad, and with a bit of sharpening up you have pure gold…”

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The Daily Dream

Sean Williams, author of The Crooked Letter,writes to tell us:

The Daily Dream is an LJ community created with the intention of capturing a
snapshot of the world’s unconscious musings–all its anxieties and desires,
and all that is just plain meaningless as well. Or is it?

Members post their dreams every morning, or whenever they wake up, in simple
one-sentence summaries. Whatever captures the mood and the message, with as
few clauses as possible. Slowly, we hope, a bigger picture will emerge.

If you’re interested in being part of this project, feel free to join up and
begin posting your own dreams. All are welcome. There’s no charge.

Tell your friends.

Who knows what currents flow at these depths, and what they might bring to
the surface?

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