Archive for August, 2005

Ed2010

In Jenna Glatzer’s excellent book, How to Make a Real Living as a Freelance Writer, I came across mention of a website called Ed2010. It’s “a group for young editors who are looking to reach their dream magazine jobs by the year 2010.” The book itself will only be of use to you if you’re interested in writing non-fiction, and probably isn’t necessary if you plan on sticking with SF & fantasy.

But anyway, the reason I mention it is to point out Ed2010, as I thought it might be interesting and/or useful to some of my readers. Lots of you probably wouldn’t mind getting a job in publishing, even if it was non-genre work; if that’s the case, there’s plenty of information and links there for your perusal.

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Quills Awards

Voting for the Quills Awards is now open. Anyone and everyone can vote, so go do so. It’s like voting for president, but obviously, much much more important.

If you’re wondering what the heck the Quills Awards are, here’s a brief snippet from their website:

The Quills Awards are a new national book award that honors excellence in writing and publishing, including consumers in the voting process. Designed to inspire reading while promoting literacy, the Quills will honor winners in more than 15 different categories, including Book of the Year, Debut Author Of The Year, and Lifetime Achievement.

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Discussions on Reviewing

Niall Harrison has some interesting thoughts on Things Critics Should Not Do:

[My review of Accelerando] was the first piece I wrote for [Interzone], and the first time I tried to compress a coherent judgment into 400 words. I mostly stand by the content, but I don’t think I got the construction of it quite right. I don’t think it’s a bad review, as such, but for instance … given the readership of Interzone and the limited space available, I probably spent more time than I needed to explaining what the book is and what it’s about. And then there’s the last sentence, in which I descended to blurbing.

Welcome to millennium three, decade one: science fiction isn’t the same any more.

I cringe every time I look at it, not so much because I don’t believe it–sure, it’s an overstatement, but whatever you want to say about the merits of Accelerando I think you have to recognise its importance–but because I know I wrote that sentence to look like something that might appear on the back of a book. And that’s the first thing I was saying … that Critics Should Not Do. The review doesn’t need it (and publishers should be made to work for their blurbs, dammit!)

He also references this Caitlin R. Kiernan quote (via Gwenda Bond & Chance):

There are many words and phrases that should be forever kept out of the hands of book reviewers. It’s sad, but true. And one of these is “self-indulgent.” Whoever reviewed Neil’s new novel, Anansi Boys, for Kirkus calls it “self-indulgent” (though the review is, generally, positive). And this is one of those things that strikes me very odd, like reviewers accusing an author of writing in a way that seems “artificial” or “self-conscious.” It is, of course, a necessary prerequisite of fiction that one employ the artifice of language and that one exist in an intensely self-conscious state. Same with “self-indulgent.” What could possibly be more self-indulgent than the act of writing fantastic fiction? The author is indulging her- or himself in the expression of the fantasy, and, likewise, the readers are indulging themselves in the luxury of someone else’s fantasy. I’ve never written a story that wasn’t self-indulgent. Neither has any other fantasy or sf author. We indulge our interests, our obsessions, and assume that someone out there will feel as passionately about X as we do.

I blogged the above because I thought it was interesting and wanted to share, but while I’m at it, I just wanted to point out that the reviewer in question wasn’t me. I do review for Kirkus, but I would never call Neil “self-indulgent.” (Well, I shouldn’t say never, but I kind of doubt I would.) I haven’t read the book yet, but I do hope to review the audiobook for Publishers Weekly.

I was also not the Kirkus reviewer who reviewed Scott Westerfeld‘s Peeps, as was speculated on his blog. I did, however, write a review of it, and I hope Niall will like it, despite my rather blurby last sentence.

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Book Review: People of the Moon

Go read my review of PEOPLE OF THE MOON by Michael W. Gear & Kathleen O’Neal Gear here. It was originally published in Kirkus. I don’t know what the deal with Monsters and Critics is, but they reprint a lot of Kirkus reviews, so I assume they’re allowed to be doing that.

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Other Hugo Award news


In other Hugo Award news…  Perhaps you’ve heard about the motion by
Patrick Nielsen Hayden fan Chris Barkley
to split the Best Editor Hugo into two categories: Best Magazine Editor and Best Book Editor.
(After proposing this revision, Barkley recruited
Patrick Nielsen Hayden to
co-sponsor it; so, though it has often been referred to as "PNH’s" proposal, it
was not, in fact, put forth by him.)

At the Worldcon business meeting, the motion passed, though with some revised language, resulting in two Best Editor Hugos: Best Editor (Short Fiction) and Best Editor (Long Fiction). I think it’s a good move; as Lou Anders pointed out, it’s kind of a shame that Hugo voters demanded a change in the Dramatic Presentation category before demanding this change, but at least it’s come to pass–or at least, it will come to pass assuming it’s ratified at the 2006 Worldcon, in which case next year we will get to nominate and vote in those two editorial categories.

Of course, this doesn’t solve the problem of a certain lack of symmetry between the magazine categories–there are awards for Best Fanzine and Best Semiprozine, but no award for Best Professional Magazine. Also, one could point out that well, the Best Professional Editor category usually goes to a magazine editor; well, that’s true, but it is a bit different, and it allows other factors to come into play. For instance, whenever Gardner Dozois or Ellen Datlow
win, it’s likely voters took into account all the anthologies both of them edit
in addition to their magazine work (of course with Gardner stepping down from
Asimov’s, it won’t be an issue with him anymore). Both of them edit Year’s Best
volumes, and Ellen usually has a few new original anthologies every year (as she
did this year). Which is not to say neither of them deserve to win strictly for
their magazine work–they certainly do, but the fact remains that their
extracurricular activities result in them having more in their favor.

Still no word on my proposal to add a Best Professional Assistant Editor
category.

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The International Association of Media Tie-in Writers (IAMTW)

Max Allan Collins and Lee Goldberg have announced the formation of a new writer’s association, The International Association of Media Tie-in Writers (IAMTW).

But, as if that weren’t great enough on it’s own, they will also be giving out *awards* for best tie-in writing. “The Scribe Awards” will be given out for the best work in speculative fiction, suspense fiction, and young adult fiction. And there’s even going to be an award for media tie-in *grandmaster.* Gah, what a dubious honor that would be.

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The Scope of Copyediting

Previously I’ve pointed out humorous bits from the Chicago Manual of Style’s monthly Q&A, but this month I found a rather appalling question.

Q. I’m currently editing a manuscript for a children’s fiction book that has been written in present tense. A few months back, when Americanizing another manuscript, I changed it from present tense to past tense. Although I have no citable rule to back up my decision, I feel as if these books should be written in past tense. Present tense just sounds odd for children’s fiction. Is this a paradigm that I should be willing to ignore, or is there an arguable reason that I have this tendency? I would appreciate any rationale you have to offer.

A. The choice of tense is so personal, and so critical to a fiction writer’s purpose, that it would seem rash to restrict an entire genre like children’s books to a single tense. Many excellent children’s books have been written in the present tense. If you feel that the past tense would improve the book, however, rewrite a paragraph or two and send it to the author for discussion.

Doesn’t changing the tense of an ENTIRE NOVEL seem a bit above and beyond the scope of what a copyeditor should be doing? In any case, it certainly seems like something you should discuss with the author first, as the CMoS suggested. Can you imagine opening up the package with your copyedited manuscript, only to see that the copyeditor had rewritten the entire book? Boy, imagine all the stetting you’d be doing.

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