Amazon feels the fear

A new email from Amazon's Kindle Direct Publishing sneaked into my inbox this morning. I say "sneaked" because who sends out a promotional or marketing email at 4 am on a Saturday morning.

The answer: A company beginning to panic.

The letter is obviously in response to the letter signed by Douglas Preston and more than 900 other authors who are tired of being abused by Amazon. In the letter Amazon compares ebooks to the creation of paperback books before World War II and how that invention shook up the publishing industry. They also beg their Kindle Direct authors to email Hachette CEO, Michael Pietsch and demand Hachette remove authors from the middle of these negotiations.

You can read the letter here.

I'm not going to dissect the letter, which contains a rehashing of Amazon's standard talking points. Instead, consider the timing. Amazon releases this letter early on a Saturday morning when most of their customers are asleep.

My guess is the Preston letter, which will appear in the Sunday New York Times but has already gained massive amounts of publicity, has them in a panic.

Amazon is used to being the friends of both authors and readers and investors. Now two of those groups have partly turned against them.

So they strike back with a 4 am email.

Yeah, they're feeling the fear.

We hate your genre—except when we write it

The news for On Spec Magazine is bad—the Canada Council for the Arts denied their grant application for 2015 because "the quality of writing remained low." As On Spec's managing editor Diane Walton explains, this is flat-out wrong and merely the rationalization the Council used to remove funding from a genre publication. Walton says the magazine is exploring alternate funding mechanisms and asking for support.

This appears to a case of bias against the speculative fiction genre (a view shared by Michal Wojcik and others). My belief in this is based not only on the fact that On Spec continually publishes high quality fiction but because I've witnessed first-hand the literary snobbery and beliefs which appears to have doomed On Spec's application.

You see, a while back I received a Minnesota State Arts Board Fellowship, which at the time was a very nice monetary grant awarded to individual artists (they've since discontinued the program). I won the award with a story which, while containing genre elements, easily passed for the types of stories at home in the Mississippi Review and the Beloit Fiction Journal. Since I'd published works in those exact literary magazines, and ran a literary journal called storySouth, the Arts Board judges no doubt saw me as one of their own.

I'm not merely making this assumption—I know this is truth because a few years later I ran into one of the judges who'd decided I was fellowship worthy. This person introduced herself to me, praised my writing, and asked what I was writing these days. 

When I mentioned science fiction stories, she promptly informed me that if she'd known I was going to write those types of stories she wouldn't have be voted for my fellowship.

Ouch. Burn. How dare I take their official literary imprinteur and use it to write that nasty genre stuff.

Of course, the irony is that major literary authors from Cormac McCarthy and Toni Morrison to Michael Chabon and Junot Díaz regularly dip their toes into the genre pool. But that's evidently okay with our world's self-appointed literary elite.

I now understand that the distinctions between genres—including between the so-called "literary" genre and all other types of fiction—don't matter as much as many people believe. Great fiction can exist in any genre or type of writing, just as bad writing also exists across all genres.

It's too bad the Canada Council for the Arts and many other lovers of literature don't understand this.

Really?

So I wrote the other day about the speech guidelines for the upcoming Hugo Awards ceremony. Quite a few people in the genre have commented about the issue, including author and critic Ian Sales, who stated:

Really, Ian? I'm an American and the Worldcon is in Britain, so I simply have to "deal" with my concerns over these speech guidelines curtailing discussions of politics in our genre?

Just so no one misunderstands, Ian later states that he is clearly referring to free speech issues:

It's nice to believe that the science fiction and fantasy genres—and indeed, all of literature—are based on the free-flow of ideas and words. But this has never been true. There are certain people and themes and motifs and beliefs we are supposed to accept without questioning if we want to be a part of the genre, and likewise certain people and views who are not supposed to be a part of genre discussions. And if you dare to raise a point which the dominant genre voices disagree with, they simply dismiss your concerns as if what you're saying couldn't possibly matter.

That's what Ian Sales is doing by saying that free speech is a US argument. He is too smart a writer and critic to be dismissing views like this, but there he is, still dismissing away.

As Damien Walter said in response to Ian's comments, this year's Hugo Award speech guidelines "seem to be about stopping an embarrassing scene" when the genre might need just such a scene because of the issues we're dealing with.

So true. Sometimes the genre needs a scene. Unfortunately, the scene many in the genre want is merely more of the same old same old.

 

Don't silence the genre at the Hugo Awards ceremony

I'm writing a bit blind here because I'm not a finalist for the Hugo Award and haven't seen the speech guidelines Worldcon is evidently sending to this year's nominees. I first heard about them from Mary Robinette Kowal on Twitter and received confirmation from other Hugo finalists that the guidelines do indeed exist.

To my knowledge no previous Worldcon has created guidelines about what the Hugo winners should say at the award ceremony. The guidelines appear to be in response to the controversies around this year's Hugo Award process and are supposed to create "a safe space for all nominees" at the ceremony.

Which is, in theory, a great ideal. After all, none of us want personal attacks and nastiness spewed from the Hugo Award stage. But the guidelines evidently also reference political views and that disturbs me.

Like many people in the genre, I have strong views about the gaming of this year's Hugo Awards. I also believe passionately about the direction our genre needs to take and dislike the political views and statements of some of this year's nominees.

But I don't want any of the winners censoring themselves at the award ceremony. I want to hear what the winners truly think about the state of today's science fiction and fantasy genre. The Hugo Award ceremony is a very prominent stage for the ideas and beliefs which shape our genre for both good and ill. I want every winner to speak truthfully about what they see in our genre today.

Does that mean attacking and vilifying people on the stage? Hell no. Does this mean I'll agree with what everyone will say when they receive their Hugo Award? Probably not.

But I want to hear their true views on our genre.

 

Is trouble brewing with the 2015 Worldcon in Spokane?

I've written before about the learning tool that is genre gossip and rumor. As Neil Gaiman wrote in his classic Sandman graphic novel series, "Only a fool listens to rumors. Only a fool ignores them."

While attending Readercon earlier this month I heard several rumors about Worldcon which disturbed me. Specifically, one person told me that Sasquan, the 2015 Worldcon in Spokane, Washington, was failing to meet its membership goals. Another person said that if I was going to purchase a supporting membership to Sasquan I should do so soon because they would be raising prices due to lagging membership numbers. A third person told me she knew of several people who weren't going to Sasquan because it's too expensive to travel and stay there.

I don't know if any of this is true. Perhaps this is merely the standard grumblings one hears a year out from every Worldcon. But as someone who is considering whether or not to attend Sasquan, I decided to do a little digging. Here's what I found.

Last month Sasquan released its first progress report and reported that—with only a year and two months to go before their Worldcon—their membership stood at 1171 for attending members and 896 for supporting members. 

Contrast this with Loncon 3, which a year and a half out stood at 1448 attending members and 716 supporting members, and nine months out stood at 3360 attending members and 579 supporting members.

Perhaps Loncon 3 isn't a good comparison for membership numbers since that Worldcon is being held outside the United States. I also checked the progress reports from Chicon 7 and LoneStarCon but their initial reports don't give exact breakdowns on purchased memberships like Loncon 3 and Sasquan do.

However, the Renovation progress report 1 states that they had 710 attending members and 312 supporting members a year and a half out from their Worldcon, which isn't that far below what Sasquan has a year and two months out. So it's possible Sasquan is simply following the standard process for membership signups for a US-based Worldcon. (If anyone has a breakdown of Worldcon registration numbers from a year out, please send them to me.)

But I also noticed something else which gave me pause—Sasquan didn't even release their first progress report until June of this year while previous Worldcons have released their first progress reports much earlier in the process. For example, LoneStarCon released two complete progress reports by the summer a year out from their Worldcon, and Chicon 7 and Renovation both released their first complete progress reports in April the year before their convention.

All of this may be making too much of nothing. I've heard for years of the declining attendance at Worldcons and this may be merely a symptom of a greater illness. But when three separate people raise a genre issue with me, it's also something which catches my attention.