So much for the inevitable truth of the market

Vox Day has been talking smack about John Scalzi and his sales again, you know the schtick: “nobody really likes him the real proof of a good writer is how well he sells all a conspiracy he’s on the bestseller list people like Larry Correira sell much better blah blah blah”. Funny thing that, according to John Walker in a comment at File 770:

Well, according to Bookscan Larry’s sales are in freefall. His first mm pb book sold some 51,000 copies, but that was back in 2009, which was an entire different publishing world, then. His latest book in mass market? 3500 copies, at best. He seems to be trading on past success,but honestly most of his books (and his compatriots) are selling poorly. Hoyt’s latest? 200 copies. Freer’s? 600 copies. If anything a lot of this is just knee-jerking on their part, and suggestive that perhaps they should figure out why their sales are plummeting, instead of picking on others for their misfortunes.

Whoops.

Worse, as Nick Mamatas shows in comments at James Nicoll’s, Sarah Hoyt isn’t doing well either, downright awful in fact:

231 copies for a book released in July by a mainstream publisher, by an author with a number of series and award nominations, and whose blog posts receive 100s of comments, is a big problem. But it doesn’t appear to be far from wrong, given the other available information.

The only possible conclusion you can draw from this is that all the rightwingers who like to hang around at Day’s, at Hoyt’s, like to talk a lot and give it all that with their circlejerks about how nobody likes all those politically correct gamma authors and it’s only the effeminate critics at whatever the latest target of their ire is who pretend they are popular, seem damn reluctant to acually, you know, buy the books of the authors that they supposedly support.

Rightwingers are moochers. They only wage culture war if it’s free or if they can get wingnut welfare for it, but actually spending money? Never.

Otherbound — Corinne Duyvis

Cover of Otherbound


Otherbound
Corinne Duyvis
387 pages
published in 2014

It was thanks to The SKiffy and Fanty Show that I got to know about Dutch author Corinne Duyvis and her début novel Otherbound, when they had an interview with her about her book. This interview intrigued me enough to buy the ebook and start reading it immediately, because Duyvis was saying smart things about diversity and disability; it also helped that in the Dutch SF round table was raving about this book. And they were right to. This is a smart, well written fantasy novel with a clever, original idea at the heart of it that deserves to be a huge success.

Nolan would be just a normal high school kid, where it not for his crippling epileptic seizures. Amara is a servant girl, her only job to keep the fugitive princess Cilla safe, functioning as the lightning rod for the princess’ curse. Any drop of her blood spilled will attract the world’s vengeance on her, so instead Amara has to draw the curse to her, because she has a healing power that will allow the curse to do its worst and still leave her alive. As a side effect of her “gift”, Nolan was dragged into her world, her mind, seeing and experiencing Amara’s life every time he closes his eyes, every time he blinks. So when Cilla’s protector and Amara’s overseer, Jorn, punishes Amara for her neglicence by thrusting her arms into a fire, Nolan feels the pain alongside her. It’s this what’s really behind his epilepsy, this loss of control as he’s sucked into Amara’s world and can’t pay attention to his own.

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ImagiCon revisited

A couple of days ago I blogged about ImagiCon and their payment system. Now the chairwoman has responded:

We’re sorry to hear that you’d rather not make use of Paylogic. We’ve opted for this system, because, as a starting convention, it’s downright impossible (not to mention quite expensive) to create and maintain our own system for digital tickets. We chose Paylogic because it’s one of the most reliable systems and even though people have to register/log in to buy a ticket, we can assure you that you will NOT receive any unwanted mailings from Paylogic or from our convention. The data they ask is used by us so we have a statistical overview of the public that attends our convention. It serves no other purpose.

I could quibble with this explenation — other cons have managed to handle their own registration– but I like and appreciate that the con took the time to respond to my complaint. It’s a fair point and though I’m still likely to buy my own ticket at the door, even if it’s slightly more expensive (16 vs 20 euros), it has put most of my fears at rest. The only real point that remains is the obligatory reporting of gender in the form, with neither the possibility to opt out nor an option other than male or female. There should at least have been an option for unknown/undeclared/other.

The Mirror Empire — Kameron Hurley

Cover of The Mirror Empire


The Mirror Empire
Kameron Hurley
540 pages
published in 2014

Kameron Hurley’s debut novel Gods War had an impact many other writers would envy her for, only equalled by the buzz generated by Ann Leckie’s Ancillary Justice last year. It wasn’t just an accomplished debut novel, it also helped revitalise science fiction at a time when it started to grow a bit stale again. Expectations are therefore high for Hurley’s new novel, The Mirror Empire, the first in a new series and the first fantasy novel she has published. Would it be as good and inventive as her previous series, would she be as good at writing fantasy as science fiction?

Halfway through Mirror Empire I finally realised what it reminded me off: Steven Erikson’s Malazan series. Not so much in setting or plot, but rather in complexity and willingness of both authors to throw all sorts of interesting ideas into their novels, ideas you may not expect in what at first glance seems to be a standard epic fantasy series. Where they differ is that Hurley is much better at inclueing the reader about who all these people are and how everything fits together, where Erikson had a magnificent disdain for the reading, leaving them to sink or swim on their own. Hurley is … more forgiving but still requires you to pay attention. This is not a novel to read with your brain in standby.

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Why not have a Eurovision Science Fiction Contest?

Over at Europa SF, Dutch writer and critic Peter Kaptein explores the possibility of a pan-European organisation/movement for the fantastic in its broadest form:

We are not just writers

I do not believe in an European Writers Association. I don’t believe in a movement that focuses on only one aspect of our branch of art.

I do believe in an European Speculative Arts Association (or European Fantastika Creators or European Creators of Fantastika Association as it might be called).

Because we are more than just writers. We are also scholars, movie makers, animators, comic book artists, illustrators, sculptors, street artists, musicians, theatre makers and festival organizers.

We should not cut off the many possibilities for collaboration that can propel European SF, Fantasy and Horror to creative heights far beyond what the American and British market have reached until now.

What Kaptein is proposing is a way to structure and strengthen the ties between the various national science fiction/fantasy scenes throughout Europe without necessarily assimilating them into the Anglo-American juggernaut. What we have currently is that each country is influenced by what happens in English language science fiction, be it movies, novels, computer games or whatever, that a few writers and other creators get translated and assimilated, but that cross pollination between local European scenes is rare: both Belgian and Bulgarian writers are influenced by the American or British writers they read, but they don’t influence each other.

At the same time, while the Anglo-American science fiction world is becoming more open to outside influences, it’s still a process in which selected writers “break through” and become part of that world, but there isn’t yet a systemic interchange of ideas and influences, certainly not on any basis of equality. Projects like Clarkesworld’s Chinese science fiction translation project help a bit, but aren’t nearly enough to redress the balance.

So it makes sense to look for ways in which we can create a truly international, pan-European form of science fiction, where Polish writers are read in France and are inspired by the work of artists from Spain who in turn admire the radical works of Croatian film makers. How to go about this though? Do we need some sort of international organisation, something akin to an European SFWA but broader, as Kaptein is looking for?

Perhaps. There’s already the European Science Fiction Society, which organises Eurocons and the European science fiction awards, but that’s more rooted in fandom; it’s mission could be extended if the will is there. Perhaps we need a more European way of recognising worthwhile authors and other creators in foreign languages, perhaps we need a Eurovision Science Fiction Contest instead. Imagine having e.g. short stories from every country in Europe compete with each other, voted on by fans all over the continent. Wouldn’t it be great to discover Polish or Romanian authors that way?

Ironically, in whatever way we want to strengthen and create a truly pan-European science fiction scene, we will remain dependent on English in order for Dutch fans to be able to communicate with e.g. Greek ones (or indeed, considering both Kaptein and I are Dutch, each other). Like it or not, English is and will remain the lingua franca of the speculative fiction community. Not there’s anything wrong with that, as long as we non-native speakers also get a chance to have our say…