Author: David Steffen

David Steffen is an editor, publisher, and writer. If you like what he does you can visit the Support page or buy him a coffee! He is probably best known for being co-founder and administrator of The Submission Grinder, a donation-supported tool to help writers track their submissions and find publishers for their work . David is also the editor-in-chief here at Diabolical Plots. He is also the editor and publisher of The Long List Anthology: More Stories From the Hugo Award Nomination List series. David also (sometimes) writes fiction, and you can follow on BlueSky for updates on cross-stitch projects and occasionally other things.

The Best of Well-Told Tales

written by David Steffen

Well-Told Tales was a pulp fiction podcast which also produced some short films, run by Kevin Colligan and which was active from about 2007 to 2009. They ran stories in the mystery, horror, and science fiction genres. That’s… pretty much all I know because the site itself is no longer maintained and there doesn’t seem to be a good source of the information that I can find. I was able to find the episodes for download here on Archive.org although unfortunately that is only their numbered episodes, which does not include their short films or their serially-released full-cast production of the comedy superhero story “I Killed Awesome Man”. I found another listing that has 5 of 8 episodes of “I Killed Awesome Man” here. I haven’t had any luck finding the full “I Killed Awesome Man” for download–if someone knows where to find it, please post a link in the comments. One nice thing about the Creative Commons podcast licenses is that it’s completely legitimate for a third-party site to post an archive of episodes even when the original site is no longer maintained.

Overall, I thought the quality of the show was kind of uneven, even accounting for my general disinterest in the mystery genre–quite a few of the stories were full of tired overused ideas and didn’t really do anything new with them. But some of the episodes were good, and I liked enough of them to make the list.

 

1. Parliament of Me by Patrick Hurley
Man has a vision where he meets all of the alternate selves he could’ve become, who are now voting to decide which one gets to be the real person.

2. Fourth Wall by Maddie Ward
A boy is worried for his sister who’s started talking to herself in her room, narrating her life as if she has an audience, but is there someone actually watching?

3. Tequila by Finn Colgan
The horrors you find at the bottom of a tequila bottle

4. I Used to Love Her by Theodore Carter
A tale of a relationship turned sour. Also, she might not really be human anymore.

5. The David by Jonathan Kravetz
A woman has lost her Will to Live, literally, and a detective is hired to find that Will to Live and bring it back.

 

Honorable Mention

The 30-Day Baby Company by Darren Callahan

 

 

Almost-Hugo Review: Dog’s Body by Sarah A. Hoyt

written by David Steffen

“Almost-Hugo Review”? What’s that? If you’re not familiar with the minutiae of the Hugo rules, there’s an odd rule that makes no sense to me. When tallying up the nominations, ordinarily the top five counts for a particular category end up on the final ballot. Except if a story has less than 5% of the total vote. What’s the purpose of that? I don’t know. The percentages for individual stories are going to tend to be lower if there are more voters and if there are more stories that people felt moved by. More voters is good–this year there were almost twice the previous record of voters for a variety of reasons. More stories moving people is good. So… why does that mean we get less Hugo nominees? No sense whatsoever.

Anyway, after the Hugo award are given out they publish more voting numbers, including the stories that were close to being nominated but not quite, and so with that data, we can find out who only missed nomination by that pointless 5% rule. This year, there were only four nominees on the final ballot due to that rule. The story that got bumped off the bottom was “Dog’s Body” by Sarah A. Hoyt which you can read for free online–(really, 4.4% of the votes somehow makes this get bumped off the ballot when the 5.0% was the winning story?). So, since Sarah’s story got bumped off the ballot on that stupid rule, I figured the least I could do would be to give her story a review like the rest.

The protagonist of “Dog’s Body” is a cryptojournalist who goes to locations that have reported sightings of Big Foot or other such modern day mythical creatures. He’s never found anything on these trips, and he has no reason to think that he’ll find anything real on this trip to Goldport, Colorado. This is a strange one, though, in that there hasn’t been just one sighting reported, but a whole bunch of them from dragons to room-sized cockroaches to squirrels wearing berets, and the photos of the creatures don’t have the defects typical of Photoshopped images. While he’s driving through the area, he sees a dog being chased by an angry mob, and he rescues the dog from its aggressors. The dog turns out to be a teenage girl shapeshifter who has been held captive by con artists who use her as part of their schemes. Our protagonist chooses to help her get out of the trouble she’s in.

I thought the idea of the story was very interesting and there was a lot of potential in the setup, but I thought the story as a whole was slow paced and ended up feeling pretty dull and unengaging. It’s quite a ways into the story with the protagonist rambling about his past cryptid searches (which I didn’t care in the slightest about) before the rescue of the dog happens. It got more interesting at that point, but there’s quite a bit more story before anything more than vague and nebulous threats actually impinge upon the narrative. In the end, I didn’t think the story was bad. It was a serviceable adventure narrative, but not one that really impressed me with any imagination nor with any real emotional engagement. On the bright side, it had a clear speculative element, unlike “If You Were a Dinosaur, My Love” and “Selkie Stories are For Losers”, and it had an actual narrative instead of a collection of random stuff, unlike “The Ink Readers of Doi Saket”. This was probably my 2nd choice of the 5, but not good enough for me to have voted for it on the final ballot.

Hugo Novel Review (Part 2): Neptune’s Brood by Charles Stross

written by David Steffen

Neptune'sBrood

This is a continuation of the partial review of Neptune’s Brood I posted in July. As I said in that review, the book took a while to hook me on the plot, but got me early with the interesting worldbuilding involving posthuman android bodies with transmittable, transferrable minds. The protagonist, Krina-Alizond-114 is a historian of accountacy practices, specializing in the history of FTL scams. FTL travel has never been invented in this universe, but neither has anyone proven that it’s impossible, so every once in a while someone claims to have found the secret and seeks to collect tons of money from fraud. As the book starts, Krina is en route to the water planet Shin-Tethys to find out what happened to her missing sister.

Overall, I liked the book for similar reasons as I mentioned in the initial review–really interesting worldbuilding, particularly around the speculation of a plausible financial system that would work in an intergalactic civilization that operates by the physical laws as we understand them, particularly the speed of light limit on communication. And once the action finally starts, it keeps up that pace pretty steadily.

But there were some things that bugged me, to an extent that I wouldn’t recommend the book without caveat.

1. The backstory of what reasons really underlie Krina’s trip to Shin-Tethys are given in trickles at intervals throughout the book. I thought much of this information came too late, so that by the time it came, I had to re-evaluate significant portions of what the character had revealed before.

2. Very near the end there’s a big reveal that, although the reasons behind it are revealed, comes out of the blue as completely absurd in its magnitude. I had trouble swallowing that one.

3. The ending was very unsatisfying. Deus ex machina. Much too easy after the rest of the book is full of nearly insurmountable challenges. It seemed like the challenges had stacked up and up to such a degree that Stross wrote himself into a corner and had to just cheat his way around the ending.

Overall, the book had a lot of really great parts, and has a lot to recommend it. In the end I didn’t feel that it really stuck the landing.

On Unqualifying for SFWA

written by David Steffen

Note: It has been pointed out to me that because I have qualified and joined SFWA previously, I don’t need to qualify again regardless of rule changes. As a result, I could technically join again any time I wish. For me personally it’s more the principle of the thing–becoming eligible for SFWA was a long-term milestone as I started writing, and so being able to join by being grandfathered in doesn’t feel like actually meeting that milestone anymore. Also, regardless of whether I can technically join or not and regardless of whether one agrees with my qualms about being grandfathered in, the 10,000 word minimum affects anyone who hadn’t met the previous guidelines for full membership before the deadline and is still a change that I consider very problematic in both its strategic implications of keeping out writers who excel at the shortest form and practical effects of reducing potential membership for no clear reason.

For a lot of science fiction and fantasy writers trying to lay their claim to fame, becoming eligible to be a member of SFWA is a major milestone to mark their progress, and I was no exception. At the time, to get the full Active membership you had to make 3 story sales paid at least five cents per word and which totalled more than a certain dollar amount (I forget what the exact total was, a few hundred dollars I think) and where each individual sale was worth at least $50. I reached that goal and became eligible with the acceptance of “Marley and Cratchit” to Escape Pod, adding to my prior sales of “Turning Back the Clock” to Bull Spec and “The Infinite Onion” to AE. So, I reached that goal and there was much rejoicing (by me at least). I was able to join, and could go to the SFWA suite at Worldcon 2012 which was a great place to be.

This year SFWA changed their criteria, to up the professional rate to six cents per word, and also to add a minimum word count of your qualifying stories to 10,000 words.

I generally approve of the upping of the professional rate–it needs to go up periodically to have some relation to inflation, and I think that’s really overdue. Yes, it makes it more difficult for magazines to meet the criteria, but this list of markets is a large part of why SF/F has generally higher standards than some other kinds of short story markets.

I don’t approve, though, of the 10,000 word limit. Presumably there was a specific reason–but what is that reason? It seems to me that this is a strategy specifically designed to keep flash fiction from counting toward membership. I don’t know if this is another one of those conversations where some older members of the organization think that SFWA membership should be kept only to those who have writing as their only job. Could you do that? Sure. But the organization would be small and much more irrelevant, and would explicitly exclude a whole ton of award winning authors like Ken Liu who have day jobs. Who does that benefit exactly?

So, who does this benefit,changing the rules so that flash fiction is less important? I’m not the only writer whose most sales are flash fiction. Is it because the people prompting the rule change don’t understand the form? I’ll grant you, you can’t have a full complicated plot in a flash story like you can in a longer story, but flash fiction has its own appeal that other kinds of fiction can’t do well. Anecdotally, I’ve heard speculation that this is to keep some well-paying drabble (100 word story) sales from getting you to membership, but if you can sell a drabble for $50 you are my hero and I want to pick your brain. I haven’t seen any public statements about why SFWA’s organizers thought this was a worthwhile change.

As a result of this change, I no longer qualify for SFWA membership. I have 4 individual sales, but they only add up to 9180 words. So I’d need to make at least one sale of 920 words which makes at least $50. This frustrates me, for me and other flash writers like me to be excluded for no explained reason when we meet the other criteria.

I will note as well that the rules on the SFWA website say “Three paid sales of different works of fiction (such as three separate short stories) totaling a minimum of 10,000 words to Qualifying Professional Markets”. Note that it says “three” not “three or more. Which, if that’s what was actually meant, would limit flash sales even more, because getting 10 professional 1000-word story sales wouldn’t count to get the 10,000 if you can only pick 3 of them to count. I’ve been told by members of SFWA that the actual bylaws say “three or more”, which is a relief because then I’d have even further to go–then I would only be able to count 3 of those sales to count 8200 words and I’ve just have to sell longer stories. One story of 2800 words or 2 stories that total 4100 words between them. The trouble with the website being wrong is that it’s the source that newbie writers are going to use to determine whether they should apply or not–so even though the bylaws are the source, this is the public side of it. Hopefully they’ll get the website updated soon.

And I hope that they repeal the 10,000 word minimum. At the very least, I’d like to hear why they think flash fiction isn’t valuable to the SF community, or what other strategy they might have behind this change–I don’t think such a thing would make me happy, exactly, but then we could have a discussion about the topic at the core of this rather than just complaining about the symptom.

In the meantime, I guess there’s nothing to do for it but to consider “Requalifying for SFWA” as a new milestone to reach. Onward and upward!

“The Original Blue Fairy is a Cruel Monster” or “My Review of The Adventures of Pinocchio”

written by David Steffen

We all know how the story of Pinocchio goes. Like most people, I watched Disney’s version of Pinocchio when I was a kid, and when I later learned that it was based on an older story (as most of Disney’s movies, especially their older ones, are) I assumed that Disney made some adaptations to make it into a modern children’s film–modernizing the language, trimming meandering plotlines. I knew that Disney had made drastic changes to the endings of the stories based on Hans Christian Anderson fairy tales because otherwise there’s just no way you could market them to a modern kid’s audience. But I had never heard anyone talk about how faithful their adaptation of C. Collodi’s Adventures of Pinocchio was.

I was working on a story loosely inspired by Pinocchio, and so to understand my source material as completely as possible, I wanted to read the original for a basis of comparison. I was quite surprised by what I found there. In particular, the character that Disney based their Blue Fairy character on.

I’ll give some general thoughts about the story first, and then will talk about the fairy in the section titled “The Original Blue Fairy is a Cruel Monster”. I’m not going to bother avoiding spoilers because the movie most people are familiar with is 73 years old, and the original book is 130 years old.

The Adventures of Pinocchio

There are a lot of details that might surprise someone who guesses that the Disney version is a faithful adaptation, including:

1. The Fairy does not make Pinocchio alive
He just is alive for no reason, speaking even before he has been fully carved from a block of wood.

2. The Talking Cricket (the inspiration for Jiminy Cricket) is killed by Pinocchio in the very scene in which he appears:

“Let me tell you, for your own good, Pinocchio,” said the Talking Cricket in his calm voice, “that those who follow that trade always end up in the hospital or in prison.”

“Careful, ugly Cricket! If you make me angry, you’ll be sorry!”

“Poor Pinocchio, I am sorry for you.”

“Why?”

“Because you are a Marionette and, what is much worse, you have a wooden head.”

At these last words, Pinocchio jumped up in a fury, took a hammer from the bench, and threw it with all his strength at the Talking Cricket.

Perhaps he did not think he would strike it. But, sad to relate, my dear children, he did hit the Cricket, straight on its head.

With a last weak “cri-cri-cri” the poor Cricket fell from the wall, dead!

I found this darkly hilarious, more so for the complete unexpectedness of it.

3. In the absence of the Talking Cricket, many other random bystanders serve the role of being Pinocchio’s moral compass.
This includes the Fairy herself, a Blackbird, the Ghost of the Talking Cricket, a Parrot, a Pigeon, a Donkey, and somehow the Talking Cricket again (having reappeared alive). It’s clearly a story to teach morals and really bludgeons you over the head with the format at every opportunity.

4. Geppetto has quite a temper (at the beginning of the story)
I normally think of Geppetto as a kind, sweet, old man, perhaps out of his area of expertise in parenting but an entirely benevolent character. In the original, though, he has a vicious temper and threatens to thrash Pinocchio at the slightest provocation at times.

5. Pinocchio is a mean-spirited beast(at the beginning of the story)
In the Disney movie Pinocchio is naive and easily tempted, but is generally a good person who is just misguided. The Pinocchio in the book is a mean-spirited creature who does mean things out of spite and for entertainment only

6. The escape from the belly of the Shark is super easy
Instead of Monstro the whale, the original story has a giant Shark that swallows Geppetto. When Pinocchio gets swallowed too, he finds his father where he’s been eating raw fish for two years in the belly, living in candlelight from candles salvaged from a swallowed shipwreck. Yes, TWO YEARS of eating raw fish. When Pinocchio gets there, they decide to find a way out. Apparently the giant Shark has asthma and so must breathe with its mouth open while it sleeps. Pinocchio and Geppetto literally just walk out of its open mouth and meet no resistance from the sleeping monster–there is no fire to make it sneeze as in the movie. Which really leads one to wonder–why didn’t Geppetto just walk out on his own sometime in the last two years?

7. The Fairy is very different (see the next section)

The Original Blue Fairy is a Cruel Monster

Now on to the really fun part–the reveal of what a psychotic, manipulative, pathological liar the Blue Fairy’s original incarnation was.

In the Disney movie, the Blue Fairy is about as benevolent of a character as you’re likely to find. She is basically an incarnation of kindness and love. She is the one that makes both the launching of the plot and the final climax possible. At the beginning, the lonely carpenter Geppetto wishes upon a star that his newly made marionette could become a real boy. While he sleeps the Blue Fairy visits the workshop and grants this wish, after a fashion. He has the spark of life, can act and think for himself, but he is still a wooden marionette as well. She tells him that if he can be a good boy and can listen to his conscience, then she will really make him a real boy. She sees him again later after he’s done some things wrong and gotten himself trapped in a seemingly hopeless situation, and she lets him go free with a warning that she won’t bail him out again. At the end of the movie, after Pinocchio has sacrificed himself selflessly to save his father’s life on several occasions and has learned virtue and truth and all that jazz, the Blue Fairy shows up again and makes good on her promise and makes him into a real boy. Hooray! The End.

In the book, the fairy is known as the Girl with Azure Hair, or the Maiden with Azure Hair, or in a couple scenes the Goat with Azure Hair, or sometimes just the Fairy. At the best of times, the most positive thing I can say about her is that she can occasionally act without malevolence. At the worst of times, she is a cruel, spiteful, monster who has all of the faults that she blames Pinocchio for having and others besides.

Pinocchio first meets her when he is running away from two con-men in the guise of Assassins who want to take the gold coins that Pinocchio has in his posession. Fleeing from the Assassins in the woods he comes across a cottage. He bangs on the door until the Girl with Azure Hair (at this point quite a young girl) answers at the window and this exchange occurs:

“No one lives in this house. Everyone is dead.”

“Won’t you, at least, open the door for me?” cried Pinocchio in a beseeching voice.

“I also am dead.”

“Dead? What are you doing at the window, then?”

“I am waiting for the coffin to take me away.”

And then she shuts the window on him. Because she won’t let him in the house, the Assassins catch him, beat him, try to stab him, and hang him by the neck because Pinocchio is holding the gold coins under his tongue and they can’t pry his mouth open. They get bored waiting for him to suffocate several hours later and promise to come back the next day to collect the coins from his dead body. The Fairy eventual wanders out of the house, has him cut down from the rope, and he is eternally grateful to her for saving his life even though she was the one who refused to help him when he was in trouble in the first place. He never questions why she claimed she was dead, and she never offers an explanation. I’m really not sure where Collodi was going with that brief conversation–is she supposed to be suicidal? Is it just supposed to be some amusing nonsense in place for no reason and he assumed children would laugh and not try to figure out the meaning? Is there some kind of meaning that is just eluding me because of the difference in time period and culture from where I’m reading it? I really don’t know. But this is not where it ends.

They decide after this exchange that they shall be brother and sister, and so they play childhood games with each other and have fun for a time. This is about the most positive Pinocchio’s relationship with the Fairy gets. The Fairy sends for Geppetto to come live with her and Pinocchio in the Fairy’s house, but Pinocchio is so overjoyed at this happiness that he asks to run to his hometown to find his father and tell him the good news himself. The Fairy agrees, with a warning that he has to behave. And of course, Pinocchio doesn’t behave, gets distracted, ends up having all of his gold coins stolen by the con-men who had earlier tried to murder him and in the backwards Town of the Simple Simons ends up getting thrown in jail for several months, more adventures ensue, and eventually he makes his way back to the Fairy’s house after much times has passed.

The little house was no longer there. In its place lay a small marble slab, which bore this sad inscription:

     HERE LIES
     THE LOVELY FAIRY WITH AZURE HAIR
     WHO DIED OF GRIEF
     WHEN ABANDONED BY
     HER LITTLE BROTHER PINOCCHIO

So, as far as we know at this point, the Fairy is well and truly dead, and so Pinocchio is very, very sad about the death of his sister and guilty about his role in her death. I would’ve thought that his grief would be dampened at least a little bit by the fact that she was so spiteful as to have apparently commissioned a stonecutter to craft such a spiteful accusatory epitaph for her tombstone.

But then, after her second claim of death (don’t forget the first one made on their first meeting) Pinocchio happens across her again in his ramblings. Pinocchio is at a place with very hard workers and is begging for food from them, but refuses to work for the food. Finally a woman comes along and she gives him water freely and offers him food if he will carry her water jugs. He does agree for the promise of a feast, and then he realizes its the Fairy all grown up (I think this may be because he is an unaging marionette and she is just growing up at a normal pace, though I had at first thought that this is just another piece of dream logic). Since she’s older than him now, she takes the role of mother figure to him (which adds a bit of a weird psychological component in a single character sister-turned-mother). This exchange occurs:

“Tell me, little Mother, it isn’t true that you are dead, is it?”

“It doesn’t seem so,” answered the Fairy, smiling.

“If you only knew how I suffered and how I wept when I read ‘Here lies,'”

“I know it, and for that I have forgiven you. The depth of your sorrow made me see that you have a kind heart. There is always hope for boys with hearts such as yours, though they may often be very mischievous. This is the reason why I have come so far to look for you. From now on, I’ll be your own little mother.”

“Oh! How lovely!” cried Pinocchio, jumping with joy.

“You will obey me always and do as I wish?”

“Gladly, very gladly, more than gladly!”

She merely seems amused when he points out that she’s still alive after that accusatory epitaph. She deigns to forgive him, but makes no mention of needing forgiveness herself for inflicting such grief upon the puppet-boy, and in such a spiteful way. She not only moved out of the house she’d been living in, after all, but had it torn to the ground, laid a marble tombstone (which couldn’t have been cheap) and paid to have a spiteful accusatory epitaph carved into it. When she decides to teach a lesson she goes all out!

She claims to have searched for him but as far as I could tell he just happened to find her, not the other way around.

And his promise to obey here and do as she wishes was just chilling to me considering what she’s shown herself capable of. She promises that he will become a real boy if he proves he deserves it (note that she doesn’t say she will do it for him, only that it will happen).

She even picks a day for it to happen, but the day before that Pinocchio gets tempted off to the Land of Toys, where he gets turned into a donkey because he is such a lazy layabout. He gets sold off to a circus where he is forced to perform tricks for crowds, and he sees the Fairy in the audience, with a medallion with a picture of himself carved into it. But she leaves him to his captivity.

Some time later, after he has returned to marionette form, and ends up out in the ocean, he spots a Goat with Azure Hair on an island. She beckons for him, but the terrible giant Shark (the origin of Monstro the whale) surfaces. She beckons him yet more, and even reaches out to him and just misses him before the Shark swallows him up. If it were anyone but this Fairy I might believe the “almost” of the helping him was an honest try and fail, but I don’t trust her at this point. And, granted, Geppetto is in the belly of the Shark and Pinocchio is able to rescue him there, but instead of just sending Pinocchio in after she could’ve just helped Geppetto herself. She does have magic, after all. The Fairy can shapeshift, and what animal does she turn into to save Pinocchio from a shark attack? A goat. A freaking goat. Seriously.

So Pinocchio rescues Geppetto from the belly of the Shark, and eventually they make their way home. Pinocchio earns the value of hard work and works to make some money which he plans to spend on a nice suit so that his father can see how nice he looks. On his way he runs into someone who had previously worked for the Fairy and they talk:

“My dear Pinocchio, the Fairy is lying ill in a hospital.”

“In a hospital?”

“Yes, indeed. She has been stricken with trouble and illness, and she hasn’t a penny left with which to buy a bite of bread.”

He sends the money he’d saved with her servant to help her out. He returns home and:

After that he went to bed and fell asleep. As he slept, he dreamed of his Fairy, beautiful, smiling, and happy, who kissed him and said to him, “Bravo, Pinocchio! In reward for your kind heart, I forgive you for all your old mischief. Boys who love and take good care of their parents when they are old and sick, deserve praise even though they may not be held up as models of obedience and good behavior. Keep on doing so well, and you will be happy.”

At that very moment, Pinocchio awoke and opened wide his eyes.

What was his surprise and his joy when, on looking himself over, he saw that he was no longer a Marionette, but that he had become a real live boy! He looked all about him and instead of the usual walls of straw, he found himself in a beautifully furnished little room, the prettiest he had ever seen. In a twinkling, he jumped down from his bed to look on the chair standing near. There, he found a new suit, a new hat, and a pair of shoes.

As soon as he was dressed, he put his hands in his pockets and pulled out a little leather purse on which were written the following words:

     The Fairy with Azure Hair returns
     fifty pennies to her dear Pinocchio
     with many thanks for his kind heart.

The Marionette opened the purse to find the money, and behold,there were fifty gold coins!

Pinocchio ran to the mirror. He hardly recognized himself. The bright face of a tall boy looked at him with wide-awake blue eyes, dark brown hair and happy, smiling lips.

He never hears news of the Fairy’s but if she really was sick and had not even enough money to buy herself bread, I think that the implication is that she has claimed to have died. But of course, this is the third time that she’s claimed death in the story, and the other two proved to be complete fabrications (including the elaborate fabrication involving the marble tombstone) so I’m sure she’s still living out there somewhere and will return at some point to plague Pinocchio.

And although there might be some implication that she is the one that makes him into a boy, I am skeptical of that too. It seemed like she just had knowledge about what it took to become a real boy and she shared that knowledge but did not actually cause anything.

 

Picking Apart “The Cold Equations”

written by David Steffen

“The Cold Equations” is a science fiction short story written by Tom Godwin, published in Astounding Magazine in 1954. It’s looked upon by many as a classic, and one of those old defining SF stories that defined new tropes that have become cliches in the times since then. I’ve heard it mentioned most often by some critiquers who might say something like “This is the Cold Equations in a fantasy world” or some such thing. And I’m not going to avoid spoilers in this, since it is a 60-year old story. A while back I heard the story for the first time on the Drabblecast, so it is still fresh in my mind.

The story takes place on an emergency dispatch ship headed for a colony planet with a load of desperately needed medical supplies. Our protagonist finds a stowaway on board his ship, a teenage girl who has done this to visit her brother on the colony planet. This is a major problem because these runs are planned with just enough fuel to safely reach their destination. She thought that she would only get fined for sneaking on, but punishment for stowing away is death, to be sucked out of the airlock. Most of the time the stowaways are just selfish and don’t care about anyone, but this girl is just naive. This practice ensures the safe arrival of the mission. The pilot explains this to the girl. they speak to the colony ahead, and she gets to talk to her brother. In the end, though, there’s nothing to do about it. She walks willingly into the airlock and lets herself be killed, and that’s the end. The “Cold Equations” in the title are the physics equations to calculate the effect of mass on fuel consumption. It’s apparently meant to be a commentary on the coldness of reasoning that would be necessary for space travel.

And that’s an interesting topic, but in my opinion the premise has so many monumental flaws that it falls apart on the least inspection. I had heard the general premise before and was expecting to feel for the story, but when I listened to the particulars I was so frustrated that this situation could exist, and that the people in this situation are so incredibly stupid, that I just couldn’t buy into it, emotionally or intellectually.

The problems:

1. The story repeatedly stated that there was only enough fuel with no margin, but the girl isn’t discovered until the ship is going at cruising speed. If the story’s repeated statements are true, then they should already be doomed.

2. A space freight system with no margin for error is idiotic. What if a component fails or works less efficiently? What if the pilot gains a little weight? Any tiny thing happening wrong, and the whole mission destroys the ship, kills the pilot, and maybe destroys the colony when the ship crashes. Those are steep enough consequences that it would be worth putting in some margin for error. At LEAST enough for one extra person aboard. Unless, of course, the people running this space freight system actually like to kill people for no good reason… but that’s not the sense I get from the story details.

3. Why doesn’t the spaceport have higher security? I mean, stowing away is a common enough crime that there is an execution law for it! You know how you could take care of that? Point a damned video camera at the entrance to the ship and have somebody (person or AI) watching it whenever that entrance is open. Arrest any unauthorized person who passes through. Problem solved, without having to murder anyone.

4. If you’re really only off by a tiny amount in the fuel, there should be other maneuvers that would allow you to salvage. Such as, instead of landing on the surface you put the ship in orbit. Or you intentionally overshoot the planet and allow one of their smaller vessels to chase after and catch you.

5. Have automated flights with no passenger entry.

6. The only problem in this situation is the excess mass. Try to get rid of some mass, for the love of Pete! They have ample time to do this, but they do not even make a token effort. The girl even chooses to die early, so they killed her before the last minute. The girl starts to write a note for her brother on PENCIL AND PAPER. What is a pencil and paper doing on this ship at all, which has long distance communications and a computer? Okay, sure, this is an older time and maybe they weren’t thinking of computers in the same way, but the communications here were reliable enough that even if the computer were not capable of storage you could just dictate your notes to someone on a planet to record for you–if fuel is that precious, that would be a preferrable way. The presence of pencil and paper just served to underscore all the logical problems in this supposedly logical story.
Here are some things they could try to get rid of mass while keeping the girl alive.
–Throw away your pencils and paper!!!
–Shave their heads
–Strip naked and throw out any spare clothes
–Dump any comfort items like seats, seat cushions, pillows, blankets.
–Dump any food that’s not strictly necessary to survive this trip.
–Remove and dump any components of the ship that are not necessary like covers over maintenance hatches.
–Dump any water that’s not strictly necessary to survive this trip.
–Dump some small percentage of the medicines. This is a lifesaving trip, of course, but the life of the stowaway should be considered as saving a life as well. Particularly medicines that aren’t strictly life-saving, if any.
–Force yourselves to throw up, and flush the vomit.
–If there’s anything on the ship with a laxative or diuretic effect, use it! If not, just urinate as much as you can manage. And flush all that wasted mass down the toilet.
–Lose any other body fluids you can manage–blood, sweat, semen, snot.
–Assuming there are ways to stop the bleeding, amputate one or both of her legs, one or both of her arms, other parts not necessary for survival (there are plenty of them) such as earlobes, nose, breasts. This is all especially true if this future has quality replacement parts for any of these things (especially the legs since they are quite heavy). For each of these parts, she needs to ask herself whether she would rather live without that part or die with it. Morbid, yes, but fitting in the theme of cold equations this would allow a choice.
–Again assuming there are ways to stop the bleeding, and also assuming these parts are not needed to operate the ship, the pilot could also consider amputating parts of himself not necessary for survival. For each of these parts, he needs to ask himself whether he would rather live without that part or kill this teenage girl.

Book Review: Speaker for the Dead

written by David Steffen

Speaker for the Dead is the sequel to Ender’s Game. Ender’s Game was first a short story and then was expanded to a novel, and just last year was made into a movie. I reviewed the novel and the movie in a previous article. As usual I will try to avoid spoilers for the story being reviewed, but I’m not even going to try to avoid spoilers for Ender’s Game, so if you don’t want to find out some of what happens in that book then go read it and come back.

Background

Three thousand years have passed since the events of Ender’s Game. With the buggers now apparently extinct, humanity has colonized the galaxy unopposed, a hundred worlds all connected together and governed via their ansible connection that allows instantaneous communication across unlimited distances even though the movement of matter between stars is still limited by the speed of light.

The book The Hive Queen and the Hegemon, which is written by someone the general public knows only as the Speaker for the Dead has told the story of the buggers in a way that captured the empathy of the general public so that by the time of this story everyone laments the loss of this alien intelligence and condemns Ender the Xenocide. The book has gained such popularity to as to spawn its own religion in which people who call themselves Speaker for the Dead respond to requests to illuminate in unvarnished fashion the life of a person. The Speaker for the Dead not only tells of the actions of the deceased, both good and bad, he also explains the reasons those actions were taken as best he can. This goes against the custom of not speaking ill of the dead, and so can make many people uncomfortable, but it’s meant to be as honest a story of the deceased as can be told because to tell of only the good or only the bad of a person’s life is like a second death for the person to withhold the telling of part of that life. This movement gains such a following that over three thousand years it has become its own religion.

Little does anyone know, let alone the adherents of the religion, that Ender Wiggin was also the one who wrote The Hive Queen and the Hegemon. Not only that, but he is still alive, because he and his sister Valentine have spent most of the last three thousand years in the time-slowing relativistic speeds of interstellar travel as Ender speaks for the dead and his sister shares her political views through the continued existence of her Demosthenes alias that she established in the first book.

All of that is little but backstory, just the minimum necessary to kind of get a grasp where the book starts. On a Catholic colony world a new intelligent alien species has been discovered, a species of small creatures that look like pigs and so are nicknamed “piggies”, the first to appear since the buggers. The Starways Congress, which control the ansible network between the hundred worlds, has strict limitations in place to control interaction with new intelligent alien species that are all centered around not contaminating the alien culture with human influences while learning as much as possible about them. These limitations make the quest for knowledge extremely difficult, but violation of them could be punished by means as serious as cutting the colony off from outside supplies and communication. After decades of work, very little is known about them, not even their basic social structure or reproductive methods.

One day, with no warning, one of the researchers tasked with working with the piggies is found dead, having been tortured. The young xenobiologist calls for a Speaker for the Dead to come speak for the researcher, and Ender Wiggin answers the call. The colony had previously been out of his reach because its Catholic license prohibited non-Catholics from visiting without reason, but as an invited Speaker for the Dead he could finally go and see the new intelligent species himself, to make up for the near-extinction of the buggers. I say “near-extinction” because unbeknownst to anyone else, he carries with him the larva of a bugger Hive Queen which can repopulate the species.

The travel to Lusitania to speak for the dead takes just two weeks from Ender’s point of view, but takes twenty-two years from the colony’s point of view. Novinha has married and had a handful of children since then, and has changed much since the message that Ender received. She rescinded her request for a Speaker less than a week after she made it, but two of her children have made requests in the meantime.

Review

I thought this book was very good, and made a very good followup for anyone who liked the first one. Again the emphasis is on the power of empathy. Ender Wiggin is an extraordinary human being because he has an extraordinary proficiency for empathy, both towards his fellow human beings and for creatures of different species. This makes him the ideal ambassador for dealing with new intelligent species. My favorite aspect of the book is gradual reveal of how the piggies’ social structures and stages of life work together to form the society. It’s a master craft of speculative work to put together something that is so foreign, but which can be understood, and which has the complete feeling that a real ecosystem has while being novel enough to be interesting.

The characters of the book are another strong point. particularly Novinha and her children. Their family is terribly damaged from a net of lies that has affected everything that has happened to them over the past twenty-two years. When Ender left the family didn’t exist yet, and now Ender’s first thing to do is to try to interact with the family to discover what he needs to discover to be able to speak for the dead. All tied up with the fate of the family is the interactions with the piggies, which I found absolutely fascinating in every conversation.

And just the basic concept of Speaker for the Dead I found incredibly alluring. I don’t know how I would feel if someone spoke that way about one of my dead relatives, to hear unvarnished truth about the wrongs they committed on other people but while trying to understand what motivated them to do these things. But the book never claims that the reveal is a pleasant experience, but after the reveal people do typically find a measure of peace in understanding the ones they loved better than they ever had before. It does make me wonder how Ender would speak of, say, a pedophile. I’m not sure how he could spin that in a way that people could empathize with. But that small wrinkle aside, I really thought it was alluring.

Conclusion

I would highly recommend this book to any SF fan. I would also recommend reading Ender’s Game first, because even though it’s not strictly necessary it would help to see that story to understand the potential for destruction in the ability to empathize, while this book focuses on the potential for creation and healing in the same.

I have not read any books in this series besides these two. I have heard from a couple people that these two are the only ones that really stand out as great works. Any opinions on that, dear reader? Are there any others that you’ve read that you found very valuable?

 

Podcast Spotlight: Extruding America

written by David Steffen

“Searching for the heart of a nation… in the throat of its people.” Thus is the mission of Extruding America, the brainchild of podcaster Gerard Armbruster. His mission: to deliver a nice slice of Americana straight to your ears with a generous dollop of profundity on top. Such as Stetson Tudd who lives in the state of Washington and has delivered periodic Postcards from Battersea, and… Well, admittedly, Gerard has only one correspondent. But don’t tell Stetson that.

Extruding America is a little tricky to classify. It’s certainly not the short story fare that I usually spend my listening time on. I listened to it on a recommendation, and didn’t really expect to like it since it wasn’t in my preferred format. Since it’s not in short story format I am doing this spotlight in place of the usual Best Of list I do for story podcasts.

But I really liked it. It had me laughing from the beginning with its tag line. And in the end I really felt like I knew the bumbling, well-meaning, lonely Gerard who puts everything into making this podcast and his rambling, philosophical, moody friend Stetson. Gerard’s not great at conducting interviews, but then again Stetson’s not great at being interviewed. Gerard begins most episodes with a target theme, like “Isolation” and a core question in support of that topic that he wants Stetson to answer. But Stetson usually just ends up talking about whatever’s on his mind at the time, which is rarely the chosen topic of the day.

The best way that I could describe the show is heartfelt parody of a show like Prairie Home Companion (or a parody of my mental image of that show since I’ve never listened). It’s heartfelt, but also silly. I especially liked some of the later episodes, after Gerard purchases a recording device which is so sensitive it can even record thoughts and dreams–and it works as advertises, as evidenced by some very hallucinatory recordings. My special favorite of these is Extruding America 36: Ghosts.

Sadly, the episodes of Extruding America started petering out in 2010, and the most recent episode was posted on September 2, 2011. I don’t believe there was ever an official announcement that the podcast was cancelled. Maybe there’s still hope that Gerard and Stetson’s voices will grace our ears once again! Gerard is voiced by Eric Luke, who I have been happy to hear as a voice actor on other podcasts.

 

Mike Resnick on “No Heavy-Lifting Sales”

interviewed by Carl Slaughter

Mike_ResnickGordy Dickson told me close to half a century ago that if you were good, and prolific, and an aggressive marketer, there would come a point 25 years into your career where you received a pleasant surprise (which is to say, a reprint or foreign sale) in your mail box every week, all for writing just those two words, ‘Mike’ and ‘Resnick’ on a contract.

 

CARL SLAUGHTER: WHAT IS “NO HEAVY LIFTING” SALES?

MIKE RESNICK: It’s my term for sales that require no writing, which is to say: reprint sales, foreign sales, audio sales, movie options, graphic novel sales, etc.

 

HOW MANY NO HEAVY LIFTING CHECKS ARRIVE IN YOUR MAILBOX PER YEAR?

Better than 100 a year, if you include royalty checks on self-published reprints (which is to say, once a book is out of print and reverts to me, if I can’t sell it for what I think is a good price, I’ll convert it into an e-book and sell it on my web page, and through Amazon, Barnes, Kobo, and the like.) Otherwise, probably 50 to 75.

 

HOW PROLIFIC DO YOU HAVE T BE TO REAP THIS KIND OF HARVEST?

Over the past 30 years I’ve probably sold 3 books a year (excluding anthologies I’ve edited), and anywhere from 8 to 10 stories a year on average.

 

HOW MUCH ADDITIONAL INCOME ARE WE TALKING ABOUT? POCKET CHANGE? CONVENTION EXPENSES? MORTGAGE PAYMENTS? COLLEGE FUND? RETIREMENT ACCOUNT?

Depends on your expenses. In 2008, my no-heavy-listing income came to $33K; in 2009, $50K; in 2010, $43K; in 2011, $51K; in 2012, $73K; in 2013, $31K; and for the first 6 months of 2014, $18K. This, I should add, is the gross amount, before paying fees to my domestic agent (where due) and various foreign agents (where due).

 

WILL THIS STRATEGY WORK FOR EVERY WRITER OR ONLY THE BIG NAMES?

It’ll work for most writers, and of course it’ll vary wildly, not only with the writer’s name and prestige, but also with the writer’s themes and styles, with how easy he is to translate, with whether his themes appeal to other nationalities. But in general, if he’s good enough to sell here, he’s good enough to sell in most places.

 

HOW CAN A WRITER APPLY THE NO HEAVY LIFTING STRATEGY TO NOVELS?

Novels require agents, so the writer will want an agent who is known to have a top-notch foreign desk. (I should add that “foreign desk” is an industry term which translates as “working relationships with top-notch foreign agents”.) You learn about this by asking, not the agents, but the writers.

 

HOW CAN A WRITER APPLY THE NO HEAVY LIFTING STRATEGY TO SHORT STORIES?

There you don’t need an agent, any more than you need one to sell to the top domestic magazines. You start studying the market, you find which countries have viable magazines with viable rates, you check to see which of them buy from American writers (and, like novels, these are invariably reprints). Most of the foreign editors are on Facebook or Google+ and most of the writers are happy to share information with you: “This one wants names”; “That one won’t take novelettes or novellas”; “This one looks like it may be folding soon”; etc. In other words, you network and exchange information, preferably with those writers who know what they’re talking about, just the way you do for domestic markets.

 

HOW CAN A WRITER APPLY THE NO HEAVY LIFTING STRATEGY TO FOREIGN MARKETS?

I think I just answered that. 98% of your foreign sales are novels and short stores. True, I’ve sold a movie option to France, and they’re actually turning one of my stories into a movie in China as I write these words, but it both cases the sales were precipitated because they came across my translated stories in France and China, stories I had sold as described above.

 

HOW CAN A WRITER APPLY THE NO HEAVY LIFTING STRATEGY TO AUDIO?

There are a number of podcasts and podcastzines , Escape Pod, Starship Sofa, many others , that specialize in short stories. Some only want nominated stories or stories of a certain type, and they’ll contact you once they know you have one. With others, just listen to the shows, talk to people who have sold them, and find out what their submission guidelines are. The real money comes in audio sales of your books. The 800-pound gorilla in the room at the moment is Audible.com, but there’s also Blackstone Audio, Brilliance Audio, and a handful of others. Again, find out who does the buying, make contact, and offer to submit your work.

 

HOW CAN A WRITER APPLY THE NO HEAVY LIFTING STRATEGY TO SCREEN?

Most of the time it’s entirely up to Hollywood. One of their execs sees something he likes (I almost said “reads”, but no one out there reads) and contacts you. You don’t need a Hollywood agent, but you must have a Hollywood attorney, and you get one by asking writers you trust who have dealt with Hollywood to recommend their own. Once you’ve made a sale , which is invariably an option and not an outright sale , you start befriending as many people as you can meet in the industry, because this industry exists via personal cachet more than any other. Every Hollywood sale I’ve made , and that includes 11 options and 3 screenplays over the years , stems from the very first contact I made (and, as the saying goes, his friends had friends who had friends, etc.)

 

HOW DO ELECTRONIC EDITIONS AND PAPERBACK EDITIONS FACTOR INTO THE NO HEAVY LIFTING STRATEGY?

As I said, I create electronic editions , it costs next to nothing , of any reverted novel that I can’t sell for the price I want, and put them up for sale. These days I also find ways to bundle them with books by other writers; usually it comes to a 30-day sale at a reduced price , and being in a bundle with, say, Kevin Anderson and Rob Sawyer and Misty Lackey and Nancy Kress and Robert A. Heinlein helps all of us. Paperback (or hardcover) implies an outlay of money, and I have believed from the start that money is supposed to flow to the writer, not from him, so I never print/publish hardcover or paperback copies of my books.

 

WHAT ABOUT GRAPHIC NOVELS?

I wrote a Conan comic for Marvel back in 1971, and that is the full extent of my knowledge about the industry. I never asked for another assignment, and was never offered one. But a fellow I’ve collaborated with has all kinds of connections, and asked if I’d be willing to collaborate on graphic novels of a novella and a four-book series of mine, I said yes, and we’re in business.

 

WHAT ABOUT NONFICTION? WHAT ABOUT ANTHOLOGIES? WHAT ABOUT OUT OF GENRE MATERIAL?

My non-fiction tends to be articles about science fiction. Whether I write them for pro markets or for fanzines, every couple of years I collect a bunch of them into a book , I’ve got ten such books so far , and once in a while I can sell one to one of my foreign markets, but in truth I make very little money off that, hardly enough to warrant more than a couple of e-mails per country. I’ve just recently started writing mystery novels , I only have three out , and it’s too early to tell how they’ll do overseas compared to the science fiction. Anthologies tend to be owned by the publisher, and are not mine to re-sell (with very few exceptions).

 

HOW MANY REPRINTS BEFORE THE REPRINT INCOME EXCEEDS THE ADVANCE FOR THE ORIGINAL?

That presupposes that all reprint sales are for the same amount, and of course they’re not. (My top for a foreign novel sale is $19K; my bottom is $500 from a country I probably couldn’t find on the map.) It also presupposes that all advances are identical, and ditto. I’d say in general I make more from the rest of the world (combined, of course) than from America five times out of six. I found out 30 years ago that, while no other country ever pays you as big an advance as you get in the States, 5 out of 6 books will earn more in the rest of the world than here.

 

EVERY GOT MORE FOR A SHORT STORY RESALE THAN FOR THE ORIGINAL SALE?

No, though Japan has come very close a few times. And we won’t count Hollywood, which plays with Monopoly money.

 

YOU’VE SOLD 27 STORIES 10 OR MORE TIMES, 4 STORIES 20 OR MORE TIMES. HOW DO YOU FIND SO MANY MARKETS FOR THE SAME STORY?

You just keep looking, and remembering that a story is never done selling, which means you’re never done finding new markets. You also try to sell them with a five-or-seven-year term of lease, so that if the book is still doing well they have to put it again from you when the time period is up. Anyone who’s interested can hunt up my bibliography on my web page. It changes every few days, but it’ll give you a pretty thorough idea of what I’ve been talking about. And, for the record:

Novels:

Santiago , 22

Ivory , 18

Stalking the Unicorn , 13

Soothsayer , 13

Kirinyaga , 12

The Widowmaker , 12

The Soul Eater , 11

Walpurgis III , 11

Eros Ascending , 11

The Dark Lady , 11

Oracle , 11

Prophet , 11

The Widowmaker Reborn , 11

The Widowmaker Unleashed , 10

Starship: Mutiny , 10

 

Short fiction:

Kirinyaga , 30

For I Have Touched the Sky , 28

Seven Views of Olduvai Gorge , 22

Travels With My Cats , 19

The Last Dog , 15

The 43 Antarean Dynasties , 15

Winter Solstice , 15

Hunting the Snark , 14

Beachcomber , 13

Stalking the Unicorn with Gun and Camera — 12

The Elephants on Neptune , 12

Old MacDonald Had a Farm , 12

Robots Don’t Cry , 12

Down Memory Lane , 12

Article of Faith , 12

Me and My Shadow , 11

The Manamouki , 11

Hothouse Flowers , 11

Distant Replay , 11

His Award-Winning Science Fiction Story , 10

Frankie the Spook , 10

Bully! , 10

Malish , 10

The Pale Thin God , 10

Mwalimu in the Squared Circle , 10

A Princess of Earth , 10

Soulmates (collaboration with Lezli Robyn) , 10

All the Things You Are , 10

Alastair Baffle’s Emporium of Wonders , 10

 

Now, some of those, like “The Last Dog”, have been around since 1977, and have been selling and re-selling for 39 years†¦but some, like “Soulmates”, appeared first in 2009 and had its 10th sale by 2011. It’s a crapshoot, but if you do your homework and stick with it, eventually you’ll decide that it was worth it (and on some days, like when you get a handsome offer for a twenty-year-old book, it actually feels like stealing).

 

DO YOU HAVE TO DO ANY CUSTOMIZING OR REVISING WHEN YOU SELL THE SAME STORY TO A DIFFERENT MARKET?

No. If it’s an English-language market, the story’s already copyrighted and can’t be changed; and if it’s a foreign-language market, they’ll hire a translator.

 

ANYTHING ELSE WE NEED TO KNOW ABOUT NO HEAVY LIFTING SALES?

Like anything else, it’s a business. You run it in an orderly, businesslike manner, you never hold a grudge if someone doesn’t like your submission or doesn’t offer what you think it’s worth, and you use your brain. Here’s an example of what I mean by using your brain.

Back at the 1991 and 1992 Worldcons (in Chicago and Orlando), the Iron Curtain had just turned to tissue paper, and a bunch of magazine editors from former Soviet countries came to the cons, looking for stories. So did the Germans, who were starting some new publications. None of them had any money to speak of, but I met with each of them, and sold them a bunch of stories, usually for about $25 apiece, even gave away a pair of Hugo winners to destitute magazines†¦.and late one night, toward the end of the con, two of my friends took me aside and read me the riot act. You’re a pro, they insisted; and pros don’t sell quality reprints to anyone for under $100. That’s usually true, I replied; but these guys have no money, their countries just became free, and they have no book publishing industry†¦but they will have book publishers before too long, and I think those publishers are going to look with favor upon writers who have already established an audience through their local magazines.

OK, move the clock ahead almost a quarter of a century. I’ve sold 41 books to Poland since that day, plus 29 to Germany, 24 to Russia, 10 to the CzechRepublic, and 8 to Bulgaria. And my friends who were too proud to do business with the cash-strapped magazine editors? I believe they’re all still waiting for their first book sale from any of those countries. Like I say, you gotta use your brain.

And there are games you can play if you know what you’re doing. One I mentioned in one of my dialogs with Barry Malzberg is playing the exchange rate. The example was “Ivory”. I sold British rights in about 1989 or 1990, I’d have to check which year, for 10,000 pounds. On the day payment was received, in England, the pound was $1.53. The Wall Street Journal was convinced that the pound was undervalued on the world marker, so I had my British agent deposit my check at Barclays, where I had an account…and when I sent the money to my US account 12 weeks later, the pound was $1.92…so that $15,300 became $19,200 (minus agents’ fees) just by sitting in a British bank for 3 months, a tidy profit of $3,900, which is more than I sold the damned thing for in Hungary, Romania, or Spain.

 

Carl_eagleCarl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.

Interview: Joanna Volpe

interviewed by Carl Slaughter

agent-joanna-volpeJoanna Volpe is the founder of New Leaf literary agency. New Leaf represents Veronica Roth, author of the Divergent series, now a hit movie. They also represent Leigh Bardugo, author of the New York Times best seller Shadow and Bone, which is scheduled to hit the screen in 2015. Joanna has build a stable of talented authors who share her passion for storytelling. She also hired a screen agent with an impressive resume. She has business savvy and keen editorial instinct. She has succeeded at every stage in her career. She is an agent to watch, an agent to work with.

 

CARL SLAUGHTER: MOST LITERARY AGENTS TRANSITION FROM BOOK EDITOR. YOU LEAPFROGGED THAT STAGE. HOW DID YOU ACHIEVE SUCCESS WITHOUT EDITORIAL BACKGROUND?

Joanna Volpe: Really? Many agents I know were never an editor. In fact, they come from all walks of life: lawyers, film industry, teaching, social work, etc. I do have some editorial background; I worked for a small press called Blue Marlin Publications my first year in the business. Outside of that, I’m a self-taught editor and a lot of that came from reading and writing myself. I’m a terrible writer though. But I should also note that editing my clients work is a small portion of my job, and in fact my job is to find them the right editor! So I think it’s definitely OK not to be an editor first.

 

YOU WERE COMPARATIVELY YOUNG WHEN YOU MADE THE MOVE FROM AGENT TO ENTREPRENEUR. WHY LAUNCH YOUR OWN BUSINESS SO EARLY IN YOUR CAREER? WASN’T THAT A BIG RISK?
Agents are entrepreneurs, even when they’re working for someone else. Running your own client list might as well be running a mini-business. So the leap wasn’t that difficult to make. Of course there is risk involved whenever you’re laying your own money on the line, but I knew it was a risk worth taking. I wasn’t planning on doing it so soon, but it was the right time for Nancy to take a step back, and that helped me to make the decision.

 

NOW THAT YOU OWN YOUR OWN AGENCY, DO YOU STILL HAVE TIME FOR AGENTING OR DO YOU SPEND MOST OF YOUR TIME MANAGING THE BUSINESS AND MANAGING THE STAFF?

At first it was a big (and rather difficult) adjustment, and we’re still trying to perfect the system. I hired a CFO and business manager about a year ago and it was the best decision I ever made. He is brilliant and handles most of the management so I can focus on my clients.

 

OPERATING A SUCCESSFUL AGENCY REQUIRES PLAYING AND WINNING THE NUMBERS GAME, NOT JUST BEING ABLE TO RECOGNIZE GOOD LITERARY QUALITY. HOW DID YOU MASTER THE BUSINESS SIDE OF THE EQUATION? MENTOR? NIGHT CLASSES? FINANCE MANAGER? JUST GOOD WITH NUMBERS?

How about all of the above? My parents have owned and operated their own businesses my whole life, so I grew up in an environment where work was home and home was work. My father always says that “you have to be creative to stay in the game,” and he’s absolutely right. He is the guy on-the-ground, and my mom is the bookkeeper. I helped her in the office when I was a kid, and she had me balancing my own checkbook by the time I hit 6th grade. That’s just how my childhood was. But even beyond that, I’ve had a number of mentors over the years that continue to inspire me. I also took some night classes in the NYU publishing program in 2006 and 2007, and they were really helpful. And of course, there’s my CFO. He changed the way I was looking at the Big Picture, and I’m so grateful to him for his expertise! And finally, I have a fantastic financial adviser. As you can see, success is rarely won alone.

 

QUERIES, PARTIALS, SUBMISSIONS, MANUSCRIPTS, CLIENT MANUSCRIPTS, CONTRACTS, EMAILS, PHONE CALLS, MEETINGS. HOW DO YOU JUGGLE ALL THE LOGISTICS? DO PERFORM TRIAGE OR DO YOU ALLOT CERTAIN TIMES AND A CERTAIN AMOUNT OF TIME FOR EACH TASK?

Ha! I wish I had a good answer for this one. I’m still trying to figure out the best way to juggle it, especially when you throw a lot of traveling into the mix, which is what my 2014 has been looking like. (It’s only May, and I’ve been to 7 different states and 2 countries this year!) All I can say is that I have an incredible team, and I wouldn’t be able to juggle any of it without them.

 

DO YOU STILL READ ALL YOUR SLUSH? DO YOU STILL HAVE TIME TO READ BOOKS THAT ARE NOT IN THE SLUSH PILE?

I read some slush, and I also have an assistant who reads a lot of things first. It just depends–we actually discuss it first and split it up each week. I’m desperately trying to make more time for published books that aren’t client books. It’s important for agents to read a lot and read widely so we can keep our fingers on the pulse! But it’s sometimes tough to squeeze it in.

 

DO YOU STILL HAVE TIME FOR WRITERS CONFERENCES, WRITERS WORKSHOPS, AND GUEST ADVICE COLUMNS?

I’ll do 1-2 a year of these things, but not as much as I used to. I also contribute to an awesome and informative publishing blog called Publishing Crawl.

 

“LUNCH WITH THE EDITOR.” IS THIS LEGENDARY RITUAL UNDERRATED OR OVERRATED?

Both. It’s not nearly as fancy as someone might think (though it can be, sometimes). But it’s also underrated in the fact that too many people rely on social media to interact these days! A lunch can be so much fun, and it’s still the best way to really get to know an editor.

 

HOW OFTEN DO YOU DECIDE TO REPRESENT A BOOK BUT CAN’T FIND A PUBLISHER FOR IT? HOW MANY TIMES DO YOU SUBMIT A MANUSCRIPT BEFORE FINDING A BUYER?

This truly is on a case-by-case basis, and also dependent on where I am in my career and what kind of talent is seeking me out. As for how many rounds of submissions I’ll do–usually just two, though it also depends on whether or not we’ve revised significantly again.

 

HOW MANY COPIES OF A DEBUT SPECULATIVE FICTION NOVEL COME OFF SHELF BEFORE AN AGENT SMILES? HOW MANY COPIES OF A NOVEL SELL BEFORE YOU HEAR PEOPLE SAY, “OH, SO YOU REPRESENT SUCH-N-SUCH BOOK” OR “OH, SO YOU REPRESENT SUCH-N-SUCH AUTHOR”?

This also depends! It’s not so much about the amount of copies as it is about the entire package and publication roll out. It also depends on how much a publisher paid for the book in the first place. Different things make me smile, not just sales numbers. But as for when I start to REGULARLY get praise for a book or author–that’s usually after it’s hit 50,000 copies if I had to guess. There are exceptions to this though, and I do get praise for clients who don’t hit that number as well.

 

DO REVIEWS HAVE AN IMPACT ON SALES? DO THEY IMPACT MANUSCRIPT BUYING POLICIES AND HABITS? DO YOU CULTIVATE RELATIONSHIPS WITH REVIEWERS?

They can have an impact on sales, but not always. Reviews don’t impact my manuscript representation policies or habits though. Just to clarify–agents don’t buy manuscripts. We represent the authors and the work. As far as relationships with reviewers go, I value the relationships I do have with them very much.

 

DIVERGENT RECENTLY HIT THE BIG SCREEN AND HAD A SMASHING OPENING WEEKEND. “DIVERGENT BREAKS THE YA CURSE” READ THE HEADLINE IN THE WIRE. SHADOW AND BONE IS SCHEDULED TO HIT THE BIG SCREEEN NEXT YEAR. YOU’VE GOT A SCREEN AGENT WITH SOME IMPRESSIVE CREDENTIALS. ARE YOU PLANNING TO EXPAND SIGNIFICANTLY INTO SCREEN?

Divergent opening in theaters was a thrilling experience. Shadow and Bone is still in the very early stages of development, but we’ve placed it in good hands at Dreamworks. I do have another project that starts filming next month called The DUFF by Kody Keplinger. I would love to see more of our projects break into this arena, but I also know it’s a very long and arduous journey, each and every time.

 

WHEN YOU DECIDE WHETHER TO REPRESENT A MANUSCRIPT, IS SCREEN ADAPTABILITY PART OF THE FORMULA? ARE YOU MORE INCLINED TO REPRESENT IF IT’S SCREEN ADAPTABLE? ARE YOU LESS INCLINED TO REPRESENT IF IT’S NOT SCREEN ADAPTABLE?

I got into this business because I love books, first and always. Whether or not something is more inclined to be screen adaptable is not something I take into account when considering if I should represent the author for the long haul.

 

MORE AND MORE, AGENTS ARE PLAYING THE ROLE OF EDITOR AND PUBLICIST. PUBLISHERS HAVE EDITORS AND PUBLICISTS. WHAT ARE YOU DOING THAT THEY AREN’T DOING? HOW DID YOU ASSUME THOSE ROLES? AREN’T PUBLISHERS GOING TO START CUTTING EDITORIAL AND PUBLICITY BUDGETS WHEN THEY REALIZE AGENCIES ARE TAKING ON THESE ROLES? ARE YOU GETTING A HIGHER PERCENTAGE OF SALES FOR ALL THIS WORK?

They’ve already been cutting budgets across the board, even before agents stepped up their game in these areas. If I want my clients to succeed, I need to go to sleep every night and know that I did everything I reasonably could to help them do so.

 

I’VE NOTICED IN YOUR AUTHOR’S BLOGS THAT THEY SPONSOR AN AWFUL LOT OF CONTESTS AND GIVEAWAYS AND MAKE AN AWFUL LOT OF VISITS TO SCHOOLS, CLUB MEETINGS, AND CONVENTIONS. IS ALL THIS ACTIVITY AUTHOR BRANDING, STORY EXPOSURE, FAN BASE BUILDING, OR SUPPLEMENTAL SALES? ISN’T THE POWER OF THE STORY ITSELF THE PRIMARY FACTOR IN SALES?

Depending on the author and the project and the event, it could be any one of those reasons you list, but I do think it all comes down to story exposure and fanbase building. All of the bells and whistles in the world aren’t going to make up for a bad book. So yes, I agree that the power of the story itself is essential, but unfortunately not the primary factor in sales. I’ve seen many a brilliant book go on to sell very little. I hate when I see that.

 

WHY IS IT AUTHORS -MUST- HAVE AN ONLINE PRESENCE? AREN’T THE BRICK AND MORTAR STORES STILL IN BUSINESS? DON’T READERS STILL BROWSE THE SHELVES? WHAT CAN A BLOG OR SOCIAL NETWORKING SITE DO THAT GOOD READS AND AMAZON CAN’T DO?

These questions don’t act against one another–they are all part of the whole. Are brick and mortar stores still in business? Yes–and thank goodness for them! Do readers still browse the shelves? Some do. What can a blog or social networking site do that Good Reads and Amazon can’t? Well, social media gives readers a direct connection to content creators. That’s something that would have been very difficult to do before social media existed. Why must authors have an online presence? Because of consumer expectation. But I don’t think authors need to do everything (Facebook, Twitter, Instagram, Pinterest, etc). They should find the one thing they feel comfortable doing and do it well.

 

HOW IS IT POSSIBLE TO SUMMARIZE A 100,000 WORD NOVEL IN A 2 PARAGRAPH QUERY THOROUGHLY ENOUGH AND CONVINCINGLY ENOUGH TO GET OUT OF THE SLUSH PILE?

It’s possible. Every client I’ve signed has done it. It just takes practice.

 

Carl_eagleCarl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.