SFWA
Posted October 30, 2010
on:A couple of days ago I got into a bit of an argument with Victoria Strauss on Twitter, on the subject of Writer’s organizations such as the SFWA and the MWA, for Science Fiction and Mystery writers, respectively. The initial motivation for the whole discussion was a tweet by her that the MWA had delisted Dorchester Publishing, presumably because they had opened a vanity publishing arm, although that was not stated. (Edit: apparently it was because they weren’t paying royalties to the authors. see comments)
What bothered me about this was that most of these organizations qualify their members based on their publisher being listed, which seems kind of bizarre to me, so I sidestepped as I usually do and asked her why they do that.
After many tweets and a lot of back and forth we ended up pretty much where we started. My position is simple: If you claim to write science fiction and want membership, then your application should be judged on the basis of either your science or your fiction, preferably both. My understanding of her position is that the organizations use the amount of the advance/royalties paid to the author as an objective measure.
For SFWA, qualifying pubs must pay at least $2,000 advance. (http://twitter.com/victoriastrauss/status/29010933697)
Once again–it has nothing to do w/ quality of yr writing. Focusing on pub, rather than author, avoids such subj. standards (http://twitter.com/victoriastrauss/status/29013535029)
Once again–“good” and “bad” are not involved. That’s the benefit of using a non-subjective standard like advance amount. (http://twitter.com/victoriastrauss/status/29014033541)
Has nothing to do w/what you write, or benefiting pubs. Has to do with the org’s minimum professional standards for membership. (http://twitter.com/victoriastrauss/status/29011227741)
I’m not sure what the amount of the advance is supposed to be an objective measure of, though, except perhaps the ability of the publisher to pay high royalties and advances. Why the org (in this case the SFWA) determines the worthiness of an author to join based on what his publisher pays him is beyond me.
Well, not entirely beyond me. I’m an author, after all, it’s my business to come up with plausible storylines. One that occured to me was this: Way back when, last century, when science fiction was ‘in its infancy’, so to speak, there was a concerted effort to distinguish it from other forms of fiction. This is where Bat Durston comes from, a western hero in a rocket ship, the kind of story that ‘you’ll never see in the pages of Galaxy(?) magazine’, or some such. Science fiction stories, in order to be acceptable as science fiction, had to meet a set of criteria which would distinguish them from mere adventure stories set in space. Which is fine, especially when you consider that science fiction has so much in common with these other adventure stories that without a high fence it would be very easy for them to melt into one another.
Now here we have a nice professional standard. ‘You want to be a SF writer, you gotta do this.’ How do we know you’re doing this? Easy, you got your story published by a publisher who only publishes this, sort of like a kosher deli. The publishers filter for the SFWA the same way the agents filter for the publisher. Story quality really doesn’t enter into it; we all know the big boys publish oceans of crap SF every year. I’m still not sure how the royalty angle fits in to all this, except that there is supposed to be some further connection between the ability to pay high royalties and the adherence to the SF code that escapes me. I suppose it is possible that the SF rabbis who vetted the publishers for their adherence to standards noted the standard advance amounts paid by the ones that passed the test. Sort of like determining who has a heart by checking for kidneys. And I can further suppose that the slew of new indie publishers out there either do not pass the tests for adherence to the SF code or haven’t been checked at all.
Could it be that what really bugs u isn’t that SFWA excludes u, but that its standards imply that yr publisher isn’t professional (http://twitter.com/victoriastrauss/status/29013174252) (emphasis mine)
So large advances imply that a publisher is ‘professional’. I suppose adherence to the SF code implies or requires some sort of corporate infrastructure in order to check the science, which further implies access to larger amounts of ready cash for advances. One wonders what would happen if an indie passed the test (“Hello, Google!”) but only offered a tiny advance. Would they be required to offer larger advances, like the big boys do, or would the SFWA lower their standards for what is required in order to be considered a “pro publisher”? Three guesses. On the other hand, when a show like Firefly wins the Hugo, you know that there’s something wrong with the SF code somewhere.
None of which really matters, although I think this is the argument Ms. Strauss was trying to make, because I am a fantasy writer. Were I to try to gain admittance to the SFWA, it would only be because there is no equivalent organization for fantasy writers. I prefer SF when it’s fantasy in SF clothing. I don’t claim to be writing SF, although my futuristic paranormal may raise a few brows. Why should a fantasy writer be held to the same standard as an SF writer? Should the SFWA have a separate branch for us mere fantasy authors, or not accept any fantasy authors at all? Is there, should there be, a standard for fantasy? I think it’s too late for that.
So where do the fantasy writers go?
29 Responses to "SFWA"
[…] This post was mentioned on Twitter by Karen Syed and AaronsBooks, sean hayden. sean hayden said: SFWA: http://t.co/Y9pooNe. […]
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I recognize I shall fall in the minority here, but I support Victoria’s stance on this. Where will fantasy writers GO? Hopefully to the publisher they are best ‘matched’ with, and if they desire membership in their professional organization (for whatever genre) then they will seek publication by recognized magazines and publishers who pay advances. I do not see this in any way as working ‘against’ an author.
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“Third, there is no recognized professional organization for fantasy writers, and part of my point is that the SFWA is something of a catch-all, and the standards they apply to SF writers shouldn’t be applied to us.”
I am a fantasy writer, and SFWA does, in fact, represent speculative fiction…BOTH SF and Fantasy. That is not something that can be reasonably disputed given the roster of members is comprised heavily of fantasy authors.
Nor do I understand the argument that traditional press ignores the new and different. If this were true, our genre would not be where it is today and untold hundreds of authors would have gone unpublished. Of course they want work that is marketable and will sell well…publishing is a business. And that remains a constant whether it is traditional press or e-pub or anything short of vanity press.
But, as I understood it, this ‘discussion’ was about the merits of the SFWA, RWA, MWA, etc choosing a base-line by which they determine if a publisher meets set criteria for recognition…not a debasement of traditional press. Or did I misread the intent?
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I meant there is no Fantasy Writers of America, not that there is no organization representing fantasy authors. Of course SFWA must be representing fantasy authors, otherwise how could they be applying the wrong standard to them. Nor did I say that traditional publishing ignores the new and different, just the most new and most different.
You got my intent right, though. I am concerned that these organizations have a standard which may perhaps have been useful once but seems to be less so now.
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While I believe there is a lot in traditional publishing that might need to change as the industry continues to evolve (as it has, and must) … advances being among the things better consigned to the past in favor of perhaps a better cut on actual profits…
I think that the goal of the SFWA and other professional organizations if to maintain the quality of their membership. Some guidelines must be established in order to keep it professional. This is not so different from the SAG memberships. Community theatre, and there are many excellent community theatres, do NOT qualify toward membership. Type and level of work guidelines are established up front and those interested in attaining membership, and the benefits associated with this, must make their own decisions on how to achieve this goal. They are not saying artists who choose not to seek SAG can not be equally creative, but that this select group has sought and met their criteria as professionals and are recognized as such.
And meanwhile Independent filmmakers and artists continue to do ‘their own thing’… and some achieve recognition on their own.
Isn’t this basically the same thing?
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I think there are a few misapprehensions in your post that it might be valuable to clear up.
1. SFWA stands for Science-fiction and Fantasy Writers of America.
2. Dorchester was delisted by MWA in part because they weren’t paying royalties. They do not have a vanity publishing arm.
3. The membership criteria exist because the organization needs quantifiable standards. It should not come down to someone pointing and saying “this is good.”
“I’m not sure what the amount of the advance is supposed to be an objective measure of, though, except perhaps the ability of the publisher to pay high royalties and advances. Why the org (in this case the SFWA) determines the worthiness of an author to join based on what his publisher pays him is beyond me.”
Part of SFWA’s mission is to help genre writers have a sustainable career. The business of writing varies depending on if one is writing for a commercial publisher or a self-publisher. Since the average self-published novel sells only 150 copies, it is generally not a viable route to a long-term career. By contrast, the average print run for a debut novelist with a commercial publisher is 5000 copies. The author gets paid whether all of those copies sell or not. So, using quantifiable measurements is a way of trying to guess whether a new author is likely to be on a path towards a sustainable career.
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With regard to 1, that sucks, because the only theory I could come up with regarding your standards depended on a separate pre-existing criterion, which doesn’t exist for fantasy.
Your theory was incorrect. The business model is pretty indistinguishable for the various branches of speculative fiction.
As for 3, there’s a lot of SF and F one can point at and say “this is pretty bad” that would still qualify the author for membership in an SF/F writer’s org. The quality of the writing shouldn’t be a criterion since part of your function should be to make it better.
To be more accurate, there are a lot of published books out there that are not to your taste. Someone liked them. Pick any award-winning novel you like and look at its one-star reviews. There will always people who hate it. Having an organization that sets itself up to be an arbiter of taste sounds like a recipe for disaster to me.
As for advances, the thing to understand is they are an advance on royalties. In other words, the publisher makes a guess about how many copies of the book will sell and gives the author a percentage of that up front. This allows an author more time to write. It also demonstrates a publisher’s commitment to the work.
Should authors participate in promoting their book? To the best of their ability, of course. Is an author’s career ultimately determined by how many books they sell? Yes. However, when looking at the beginning of a writer’s career, there is no way to know this. So, what our criteria are set up to do is to make a guess about an author’s likely career path. This criteria has to be quantifiable and verifiable.
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Mary Robinette Kowal said: “…what our criteria are set up to do is to make a guess about an author’s likely career path. This criteria has to be quantifiable and verifiable.”
Precisely, for any measurement to be worthwhile it must be verifiable and quantifiable. This is a measure of something otherwise difficult to measure in concrete and verifiable terms.
Whether it is perfect or not, the criteria are there to help authors acheive their goals and to recognize when they are on the path to doing so.
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You have interesting theories. What quantifiable and verifiable criteria would you put forth to measure your ideas of what “professional” means?
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“The measure of the writer’s professionalism should be the writer’s behavior, not his publisher’s business practices. Is he taking steps to do his best work, promote his work, produce more, and improve his technique? That’s the standard of professionalism.”
I too am curious about what criteria would be used to determine this. These all seem to be highly subjective judgments that could (and would) easily be disputed. How do you determine whether a writer is “taking steps to do his best work?” What those steps are or should be? What “best” is?
Or suppose, to address “produce more,” the organization decides that members must publish a book a year. Or a book every two years. What about the authors who write more slowly, or are temporarily sidelined by illness or family matters, and can’t meet those production thresholds?
The point is that no matter what standards you use, you are going to wind up excluding people. The only question is how you exclude them. Personally, I’d rather be excluded because of my publisher’s business practices (which would mean that every other author with that publisher would be excluded too, and would not imply any judgment on my work habits or the quality of my writing), than because the organization deemed I wasn’t “professional” enough.
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1 | Karen Syed
October 30, 2010 at 3:19 pm
This will never change. Most of these orgs have become wolves in sheep’s fur. They are not truly Writing orgs, they are Business orgs for the elite. I have no problem with the authors who join them. I have tremendous respect for most of them. Why? NOT because they got a big advance, but because they wrote a book. Not even that they got published, they wrote a book, or several in most cases.
My company does not belong to ANY writer orgs for the reasons they all give. Our advance is minimal, some would say laughable. However, we work with 80% new authors and 80% of those authors NEVER earn out their laughable advance. Many will fuss at me for saying that (the laughable part) but I have gotten a rep in this business for being straight about things.
If a new author is not taught/trained on how to market and sell their books once they enter into a publishing contract, they will not sell books and their career will not flourish. Does a larger advance give any publisher the guarantee that the author will sell better? Pulleeze. It simply means the publisher will be out MORE money when said author does nothing to market and sell their book.
Why don’t these authors market and sell more? Because the so-called writer’sorgs are telling them they don’t have to do anything afte their book is published. They are being taught that it is the publisher’s responsibility to market and sell the book. That simply isn’t true. I defy you to find any publisher who does NOT want their authors to market and sell their books. One publisher who is willing to do it all for them.
This is a ridiculous notion. It is time for authors to start taking responsibility for their own success. It is also time for writer’s orgs to go back to what they USED to be. A place to learn about the business and not just have smoke blown up their skirts. You don’t get praised for how much money you got paid for writing a book. You get praised for how many people buy and read and love the book you wrote.
Robert Kiyosaki once stated in an interview that a best seller list is just that, a best SELLER list. It is based on sales. To my knowledge there is no best advance list.
And by allowing authors to skip over the marketing and sales part of the test, orgs are simply generating a larger number of one hit wonders and writer who ultimately end up self-publishing because no publisher will contract them because they never sold any books.
Sheesh, look what you made me say!!!!
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authorguy
October 30, 2010 at 3:26 pm
Sorry about that.
I said much the same thing, that ultimately the writer’s orgs. are pushing writers towards the big boys, simply in order to get into the writer’s org. A feedback loop that has ceased to have a justification. I may have had one once, but I’m not sure it does now.
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