I was delighted to see that the program for this year's Eastercon included a panel discussion on creating anthologies. The Panel featured Ian Whates: author, anthologist and founder of New Con Press; Ellen Datlow: American professional anthologist; Colin Harvey and Gary Couzens: writers and occassional anthologists.
There were a lot of discussions about submissions, pros and cons of open vs. invited vs. reprint (open is the most work, reprint is really fun and invited is often frustrating). It was interesting to hear that, even for anthologies, the big six publishers have a heirarchy of authors such that for every 'A' list author, you might need 2-3 B-list authors. The publishers also require 1/3 more invites than desired for publication due to the estimated number who won't end up producing a story.
It was also interesting to learn that anthologies are much more common and accepted in the US than they are in the UK. Apparently, it's very rare in the UK for a big publisher to accept a pitch for an anthology regardless of the idea. They just don't want to produce them and most British anthologies are done by small presses. This suggests to me that I should target the US market much more for selling.
Most positive for me, in this discussion, was when it came around to the layout. The two most experienced anthologists confirmed my own thoughts on layout, and the way I approached the layout for Assassins' Canon. i.e. generally the first and last are the strongest, with the longer, more challenging reads in the middle. With the added idea that the first story having the added ideas that it should set the expectations for the anthology, without being too heavy.
For Assassins' Canon, there were a number of stories I could have started with, but in the end I chose Ken Goldman's 'Fat Larry's Night with the Alligators' because it emboidied all the ideas above and, I felt, led nicely into the many directions and types of stories the anthology included. Likewise, Jason Frank's 'XDA Zai: The Wild Hunt' was a strong story that wrapped up the anthology in the same way--a nice mix of real and surreal. That said, there's not a single story I'm unhappy about including and I remain thrilled at the finished product. I can only hope future anthologies from Utililty Fog Press will be as good.
Sunday, April 4, 2010
Friday, April 2, 2010
The Truth About Utopias
Eastercon (Odyssey 2010) has started off today and the first panel discussion I went to was titled: Utopia - how the concept has developed in sci-fi and philosophy.
As might be expected with such a title, much, if not all, the discussion centred around the usual things: what ideas have been presented in the past, what the panelists' own views are, is a utopia even possible. You know, wading through 50 minutes to find a few pellets of gold, like 1) on average, utopian communities that have been tried in the west last 18 months; 2) the most successful utopian communities have been religious oriented; 3) there's not even really a concensus on what a utopian society would fundamentally entail.
I believe these are the pellets of gold because they give the fundamental clues about the 'true' nature of a utopia. The secret...if anyone is wondering...is the same as it is for much of life. In short, a utopia is purely a frame of mind. If one believes they live in a utopia, then they do. Simple. This lends to the understanding of why religious groups are most successful with utopian societies--because both are about belief.
An ideal, physical utopia is logically impossible since everyone will have their own view of what a utopia is. Which suggests the way (dare I say, the ONLY way) to create a Utopia. One must make the population believe they are in a utopia. Classically, the could involve methods of propaganda or other brainwashing. Futuritically, it could involve more direct, technological means (subliminal messages in television shows...).
Typically, the discussions at such a panel has issues of class. i.e. partial utopias, a utopia for the upper class, while the lower classes toil their fingers to the bones. However, I don't believe this for the simple reason that the upper classes are no more happy than the lower classes. They have an easier life, but there is strong sociological evidence that such a life does not make one happier (indeed, if it did, why would such people continue striving for more...). Another observation to suggest that utopia is in the mind.
When looking at the existing and past cultures, my own belief is that the USA has come closest to achieving this utopian mindset--not only among their own people, but among people around the world. Despite all the problems of the country--attrocious health care, huge disparity of riches, rampant gun abuse, political corruption and abuses, imperialism, war mongering, resource hording--most residents, immigrants, and perhaps even foreigners, believe it is the best country in the world to live. This leads me to believe that the propaganda policies of the American government in the last century have been highly successful in creating the utopian mindset in their population. More evidence to suggest that any future utopia will, first and foremost, require the ability to manipulate or outright control the minds of its populace.
Frightening.
As might be expected with such a title, much, if not all, the discussion centred around the usual things: what ideas have been presented in the past, what the panelists' own views are, is a utopia even possible. You know, wading through 50 minutes to find a few pellets of gold, like 1) on average, utopian communities that have been tried in the west last 18 months; 2) the most successful utopian communities have been religious oriented; 3) there's not even really a concensus on what a utopian society would fundamentally entail.
I believe these are the pellets of gold because they give the fundamental clues about the 'true' nature of a utopia. The secret...if anyone is wondering...is the same as it is for much of life. In short, a utopia is purely a frame of mind. If one believes they live in a utopia, then they do. Simple. This lends to the understanding of why religious groups are most successful with utopian societies--because both are about belief.
An ideal, physical utopia is logically impossible since everyone will have their own view of what a utopia is. Which suggests the way (dare I say, the ONLY way) to create a Utopia. One must make the population believe they are in a utopia. Classically, the could involve methods of propaganda or other brainwashing. Futuritically, it could involve more direct, technological means (subliminal messages in television shows...).
Typically, the discussions at such a panel has issues of class. i.e. partial utopias, a utopia for the upper class, while the lower classes toil their fingers to the bones. However, I don't believe this for the simple reason that the upper classes are no more happy than the lower classes. They have an easier life, but there is strong sociological evidence that such a life does not make one happier (indeed, if it did, why would such people continue striving for more...). Another observation to suggest that utopia is in the mind.
When looking at the existing and past cultures, my own belief is that the USA has come closest to achieving this utopian mindset--not only among their own people, but among people around the world. Despite all the problems of the country--attrocious health care, huge disparity of riches, rampant gun abuse, political corruption and abuses, imperialism, war mongering, resource hording--most residents, immigrants, and perhaps even foreigners, believe it is the best country in the world to live. This leads me to believe that the propaganda policies of the American government in the last century have been highly successful in creating the utopian mindset in their population. More evidence to suggest that any future utopia will, first and foremost, require the ability to manipulate or outright control the minds of its populace.
Frightening.
Thursday, April 1, 2010
Odyssey 2010
I arrived at the Radisson Edwardian hotel in Heathrow (spitting distance from the airport) today for this years' eastercon-->Odyssey 2010. It doesn't officially start until 8pm Friday night, but there are events planned tomorrow during the day, some of which look to be quite interesting. I'll also have a chance to put up my artwork before most people arrive.
I was hoping to have six new pictures to put in the show this year, but things (mostly image size and framing) didn't go as planned. Of course, it's my fault for leaving it to the last minute (almost literally). So I will have 6 images showing, but one is from last year, with a new frame, and one will not be for sale. One that I had hoped to exhibit, Showdown, the first image in my Steampunk series, will have to wait for another con (or I may just put it online for sale). I do intend to open up an online store of popular images through my Artwanted.com profile, so watch this space for information.
In the meantime, I'm especially looking forward to listening to some well known authors. In addition the the guests of honour: Ian M. Banks, Alastair Reynolds and Liz Williams, I've also seen Paul Mcauley, Ken Mcleod, Mike Carey, Stephen Hunt and Chaz Brenchley on the program as panelists. Furthermore, I'm curious to hear the talks on 'how to submit your script to the BBC' and 'creating anthologies'. John Jarrold is also here, the sci-fi/fantasy agent that I'm most familiar with and will also be in York next week for the York Writers' Festival. Hopefully I'll get a chance to talk with him. And, of course, I'll once again be getting the opening of a novel critqued by the semi-pro London sci-fi group T-Party.
All in all, it's shaping up to be an interesting, enjoyable weekend.
I was hoping to have six new pictures to put in the show this year, but things (mostly image size and framing) didn't go as planned. Of course, it's my fault for leaving it to the last minute (almost literally). So I will have 6 images showing, but one is from last year, with a new frame, and one will not be for sale. One that I had hoped to exhibit, Showdown, the first image in my Steampunk series, will have to wait for another con (or I may just put it online for sale). I do intend to open up an online store of popular images through my Artwanted.com profile, so watch this space for information.
In the meantime, I'm especially looking forward to listening to some well known authors. In addition the the guests of honour: Ian M. Banks, Alastair Reynolds and Liz Williams, I've also seen Paul Mcauley, Ken Mcleod, Mike Carey, Stephen Hunt and Chaz Brenchley on the program as panelists. Furthermore, I'm curious to hear the talks on 'how to submit your script to the BBC' and 'creating anthologies'. John Jarrold is also here, the sci-fi/fantasy agent that I'm most familiar with and will also be in York next week for the York Writers' Festival. Hopefully I'll get a chance to talk with him. And, of course, I'll once again be getting the opening of a novel critqued by the semi-pro London sci-fi group T-Party.
All in all, it's shaping up to be an interesting, enjoyable weekend.
Friday, March 12, 2010
Learn from the Masters
I've just been going through Alan Moore's (Watchmen, V for Vendetta, ...) graphic anthology Wild Worlds and I was truly struck by the difference in quality of storytelling between a master and the amateurs.
The anthology opens with a time loop story involving Spawn and the WildCATs which was beautifully developed (I won't say more here). But it was the second story that really brought home the difference in story quality for me. Essentially, it's a 'this could have been the beginning of the universe' story, told from the POV of some immortal characters at the end of one universe. I won't spoil it, but the story is developed beautifully so that we feel the dark, cold, aloneness at the end, but he also develops the science background enough to give you a conclusion that makes you think 'that's a cool idea, maybe...'.
I think this second story drove home the difference storytelling, the ability to develop a story from a rough idea, simply because at some point it seems every sci-fi writer has the thought to write a story about how the universe may have begun, and I've read my share of such submissions for the Utility Fog Press anthologies. But Alan Moore's blew them all away.
Take home message, if you're thinking of writing a 'beginning of the universe' story, read this one first.
The anthology opens with a time loop story involving Spawn and the WildCATs which was beautifully developed (I won't say more here). But it was the second story that really brought home the difference in story quality for me. Essentially, it's a 'this could have been the beginning of the universe' story, told from the POV of some immortal characters at the end of one universe. I won't spoil it, but the story is developed beautifully so that we feel the dark, cold, aloneness at the end, but he also develops the science background enough to give you a conclusion that makes you think 'that's a cool idea, maybe...'.
I think this second story drove home the difference storytelling, the ability to develop a story from a rough idea, simply because at some point it seems every sci-fi writer has the thought to write a story about how the universe may have begun, and I've read my share of such submissions for the Utility Fog Press anthologies. But Alan Moore's blew them all away.
Take home message, if you're thinking of writing a 'beginning of the universe' story, read this one first.
Friday, January 22, 2010
Book Review: Celebration
In honour of 50 years of the British Science Fiction Association, Newcon Press published Celebration in 2008 (okay, I'm a bit behind on my reading). Edited by Ian Whates, it's author list includes some of the big names in British Sci-Fi (although there are notable absences) including Stephen Baxter, Ken MacLeod, Jon Courtenay Grimwood, Liz Williams, Brian Aldiss, Alastair Reynolds, and Ian R. MacLeod among others.
The first thing I expected from Celebration were stories of an up-beat nature. After all, I expected a celebration. In this regard, I was to be disappointed. The stories in celebration are, for the most part, visions of the future, but are almost exclusively dark. Once I accepted that idea, it wasn't difficult to sit back for the ride.
The anthology opens with one of the few non-futuristic stories, Jubiliee Plot, a Victorian, steampunkish tale about the importance of the rail system to the development of the UK by Stephen Baxter. It's an interesting story and well constructed yet somehow it took me a long time to get through. True Victorian/steampunk sci-fi is not my cup of tea, but I suspect, coming off unsuccessful attempts to finish his manifold series, that I'm just not enjoying Baxter's style. I do have one more of his books and that should let me decide one way or the other.
The first gem, for me, was The Killing Fields by Kim Lakin-Smith. A dystopian future where society has collapsed but the remnants of technology, or at least biotechnology, linger on. Human Scarecrows with inbuilt sonic weapons battle rogues of crop bandits and even those you save try to screw you. Think Mad Max meets Blade Runner. This is a beautifully written, dark tale with lots of action and I couldn't get enough.
The next beauty was The Crack Angel by Jon Courtenay Grimwood. While I've not read any of Grimwood's other work yet, and we didn't exactly hit it off in our brief meeting at Eastercon 2009, none-the less I enjoyed this story very much and it was exactly what I'd expected from researching his novels. Most of the story is a dark, first-person detective novel and I was wondering where the sci-fi was until quite close to the end (however, the monkey kept me believing the sci-fi would be there...).
For me, the final gem in the Celebration crown was Liz Williams' At Shadow Cope. This was more a fantasy than sci-fi, but I loved it anyway. It reads as a simple story of a well-placed sorcerer momentarily down on her luck who thus finds herself visiting an old and mystically hopeless colleague. While at his home she learns that that not all magical beings take obvious forms and that humans may sometimes be innocent by-standers in ancient feuds.
Other mentionables were: Peculiar Bone, Unimaginable Key by Brian Aldiss, an original take on the return of the messiah in a part of the book where there were a number of other less creative Christian stories; Alastair Reynold's Soiree an fun take on the singularity (and the post singularity galaxy). Unfortunately, I found it a little too predictable in key areas, which detracted somewhat from the enjoyment. And finally, The Man of the Strong Arm by Adam Roberts, which presents an interesting future of competing ideologies. A dominant totalitarian society with high tech and low moral against a free society with low tech but freedom and a knowledge of the past. My only disappointment here was that the story just seemed to get interesting when it ended. Too little background was developed for my taste.
All in all, Celebration is an enjoyable collection of modern SFFH, despite not living up to my interpretation of its name. The gems within more than make up for the few duds.
The first thing I expected from Celebration were stories of an up-beat nature. After all, I expected a celebration. In this regard, I was to be disappointed. The stories in celebration are, for the most part, visions of the future, but are almost exclusively dark. Once I accepted that idea, it wasn't difficult to sit back for the ride.
The anthology opens with one of the few non-futuristic stories, Jubiliee Plot, a Victorian, steampunkish tale about the importance of the rail system to the development of the UK by Stephen Baxter. It's an interesting story and well constructed yet somehow it took me a long time to get through. True Victorian/steampunk sci-fi is not my cup of tea, but I suspect, coming off unsuccessful attempts to finish his manifold series, that I'm just not enjoying Baxter's style. I do have one more of his books and that should let me decide one way or the other.
The first gem, for me, was The Killing Fields by Kim Lakin-Smith. A dystopian future where society has collapsed but the remnants of technology, or at least biotechnology, linger on. Human Scarecrows with inbuilt sonic weapons battle rogues of crop bandits and even those you save try to screw you. Think Mad Max meets Blade Runner. This is a beautifully written, dark tale with lots of action and I couldn't get enough.
The next beauty was The Crack Angel by Jon Courtenay Grimwood. While I've not read any of Grimwood's other work yet, and we didn't exactly hit it off in our brief meeting at Eastercon 2009, none-the less I enjoyed this story very much and it was exactly what I'd expected from researching his novels. Most of the story is a dark, first-person detective novel and I was wondering where the sci-fi was until quite close to the end (however, the monkey kept me believing the sci-fi would be there...).
For me, the final gem in the Celebration crown was Liz Williams' At Shadow Cope. This was more a fantasy than sci-fi, but I loved it anyway. It reads as a simple story of a well-placed sorcerer momentarily down on her luck who thus finds herself visiting an old and mystically hopeless colleague. While at his home she learns that that not all magical beings take obvious forms and that humans may sometimes be innocent by-standers in ancient feuds.
Other mentionables were: Peculiar Bone, Unimaginable Key by Brian Aldiss, an original take on the return of the messiah in a part of the book where there were a number of other less creative Christian stories; Alastair Reynold's Soiree an fun take on the singularity (and the post singularity galaxy). Unfortunately, I found it a little too predictable in key areas, which detracted somewhat from the enjoyment. And finally, The Man of the Strong Arm by Adam Roberts, which presents an interesting future of competing ideologies. A dominant totalitarian society with high tech and low moral against a free society with low tech but freedom and a knowledge of the past. My only disappointment here was that the story just seemed to get interesting when it ended. Too little background was developed for my taste.
All in all, Celebration is an enjoyable collection of modern SFFH, despite not living up to my interpretation of its name. The gems within more than make up for the few duds.
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