Quotulatiousness

July 8, 2010

“Flying jeep” proposal

Filed under: Military, Technology — Tags: , , , , — Nicholas @ 09:09

The Register looks at the “Tyrannos” flying jeep:

Who remembers the “Transformer TX” flying-car project, intended to equip the US Marines with a small four-seat vehicle able to drive about on the ground like a jeep, hover like a helicopter, or fly like a plane? The first team to publicly offer a contending design has now stepped forward.

That design is the “Tyrannos” from Logi Aerospace, allied with other companies and organisations including the South West Research Institute and Californian electric-vehicle firm ZAP.

The Tyrannos is nominally intended to provide Marines with the ability to leapfrog over troublesome roadside bombs, mines, and ambushes while remaining able to drive on the ground as they normally might. However, it promises to be much quieter than ordinary helicopters in use and far easier to fly and maintain.

If the Tyrannos can do all its makers claim, it really does have the potential to become the flying car for everyman.

That last sentence really does wrap up the situation: if it can do all that is claimed, it’ll be a fantastic new toy for the military and (eventually) lead to the flying cars we were promised forty years ago. The specs seem hopelessly optimistic, but perhaps I’m just jaded because I don’t have a flying car of my own yet . . .

Reader beware, however. The Transformer TX project is being run not by the Marines themselves but by DARPA, the Pentagon crazytech agency which won’t even touch a project unless it is extremely unlikely to succeed.

“Give us ideas that probably won’t work,” that is DARPA’s motto: and the Tyrannos team assembled their design specifically to DARPA requirements. And, let it be noted, they have yet to satisfy even DARPA’s very relaxed rules on what kind of ideas should get taxpayers’ money spent on them.

May 25, 2010

The dangers of writing near-future SF

Filed under: Books, Britain, Media, Politics — Tags: , — Nicholas @ 10:17

Charles Stross gets sandbagged by the unforeseen:

Back in mid-2008 I mentioned that what I thought was a futuristic-circa-2023 technology for the next novel was too damn close. Slightly more recently, in Living through interesting times, I mentioned that it was becoming near-as-dammit impossible to write near-future SF; I was sore because Bernie Madoff had stolen the plot of my next novel.

Well, I picked myself up, dusted myself down, re-framed the novel in question, and I’m currently about 80% of the way through writing it when it all happened again. First of all, Lothian and Borders Police actually established a recognizable-as-the-embryonic-form version of the unit that one of my protagonists, circa 2023, manages. (Only I got the staffing level and departmental mission statement slightly off-whack …) Next, there’s just been another revolution in Kyrgyzstan (a country which, for reasons I’m not going to discuss here, plays a significant role in “Rule 34”).

But the worst thing? I’ve been sandbagged by an unanticipated event.

Of course, it’s quite understandable — after all these years, who knew there even was a “libertarian arm of the Conservative party” to mess up Charlie’s plot of the near-future?

April 29, 2010

Parents, don’t let your kids grow up to be fiction authors

Filed under: Economics, Media — Tags: , — Nicholas @ 12:26

Charles Stross lays out the miserable truth about the practical issues when you try to write fiction for a living:

Most people have a very romanticized view of what it is that authors do. Firstly, there’s a widespread perception that the workload involved is relatively easy — in modern western nations, the level of functional literacy is high enough that a majority of the population can read a book, and write (at least to the extent of thumbing a 160-character text message on their phone). Because there is no obvious barrier to entry as with music (where proficiency with musical instruments clearly takes practice), most people assume that writing a novel is like writing a text message — you put one word in front of another until you’re done. The skills of fiction composition are largely invisible, until you try to actually do it. Secondly, many people harbour peculiar ideas about how much money there is in commercial publishing — and when disabused of the idea that selling a first novel is a road to riches, they assume it’s because the evil publishers are conspiring to keep all the money to themselves (rather than the unpalatable truth — publishing commercial fiction is hard work for little reward). Finally, there’s the Lifestyle chimera.

In short: it’s actually work to write for a living. The pay sucks for the vast majority of fiction writers. You face all the risks of a start-up business, but the potential pay-off is lottery-odds unlikely to come your way. Unlike other work, creative writing can’t be done (for most authors) in a predictable regular way:

Putting words in a row is wearying work. When they’re flowing fast, I can sometimes reach a dizzying peak output of 2000 words per hour for a couple of hours — not in fiction, but in a blog entry or a non-fiction essay. I’ve occasionally had death march sessions in which I pumped out as much as 10,000 words in a day. But such Stakhanovite output isn’t sustainable; a 10,000 word day is usually followed by a three-day-weekend to recover from it. A more realistic target for a full-time professional writer is 500-1000 words of finished prose per workday, corresponding to about 1-2 hours of writing, 2-4 hours of polishing, and another couple of hours of thinking about what they want to say, and how to say it. Like anyone else, they need weekends and vacation weeks and time to do the housekeeping. 1000 words per day for a 250-day working year (50 weeks of 5 days a week) works out at 250,000 words per year — or two 320 page novels.

There’s one SF/Fantasy author who seems to publish a new book every month, but he’s extremely unusual. For most authors, one or two books per year is pretty good output.

April 1, 2010

Sequel to Atlas Shrugged in planning stages

Filed under: Books, Humour, Media — Tags: , , , — Nicholas @ 07:16

An official announcement this morning at Locus magazine has the brilliant duo of Charles Stross and Cory Doctorow (both of whom I’ve quoted on the blog more than once) teaming up to write an authorized sequel to Ayn Rand’s Atlas Shrugged:

Stross, author of the Prometheus Award-winning novel Glasshouse, said that he and Doctorow (author of the Prometheus Award-winning novel Little Brother) were hesitant at first. “But then we realized that both of us shared one important trait with Ayn Rand: all three of us really, really like money. That made it much easier for Cory and I to cash the seven figure check.”

The sequel, Atlas Rebound, features the teenage children of the founders of Galt’s Gulch rebelling against their elders and traveling out into a world devastated by John Galt’s strike, where they develop their own political philosophy with which to rebuild. That philosophy, called Rejectivism, features a centralized bureau to rebuild and control the new economy, socialized medicine, compulsory labor unions, universal mass transportation and a ban on individual automobiles, collectivized farms, a tightly planned industrial economy, extensive art subsidies, subsidized power, government control of the means of production, public housing, universal public education, a ban on personal ownership of gold and silver (as well as all tobacco products), government-issued fiat money, the elimination of all patents and copyrights, and a cradle-to-grave social welfare system.

“Plus strong encryption!” added Doctorow.

After 1,200 pages (80 of which consist of Supreme Leader Karla Galt-Taggart’s triumphant address), a new Utopia is born. The final scene of the novel features the grateful citizens of the new world order building a giant statue of Atlas with the globe restored to his shoulders, upon the base of which is chiseled “From Each According to His Ability/To Each According To His Needs.”

March 17, 2010

His agent shot it down as being “too weird”

Filed under: Books, Media, Randomness — Tags: — Nicholas @ 10:33

Charles Stross is celebrating the release of the final novel in the “Family Trade” series of fantasy novels by going over the genesis of the series. Before he hit on the concept that eventually became six novels, he worked through a few alternatives with his agent. I dunno about you, but I think I’d buy this one:

Idea number two: I’ve been interested in alternate history as a sub-field of SF for a while. There are a couple of ways of writing alternate history; you can do it straight (as an historical novel set in a history that never happened) or if you bend the rules enough to allow for a visitor from our own world to get a tourist visa to the universe next door, you can use it as a tool to poke at our conceptions of how our own world operates.

First I took a stab at designing a straight alt-hist novel. (Elevator pitch: “I’m going to cross the streams of The IPCRESS File and Heart of Darkness in a universe where the first world war ended in 1919 with allied tanks sitting in the wreckage of Berlin, and the decaying British empire went on to invent fascism in the 1940s. It’s 1962, and two OSS agents are injected into British-dominated Europe to trace the underground railroad that is funneling abducted/brainwashed American scientists east. Our two spooks, “Wild” Bill Burroughs and his swivel-eyed Californian sidekick Philip K., follow the trail — by way of a sleazy S&M nightclub in Hamburg presided over by ageing queen Adolf and his boyfriend Rudi Hess — to Ceylon, where in the guts of a hollowed-out mountain they confront the jackbooted, monocle-wearing Air Commodore Arthur Clarke and his program to build an atom-bomb powered space dreadnought.) My agent shot it down as “too weird”. With 20/20 hindsight, I think she may have had a point.

Actually, the fact that I think it’d be a fascinating read probably proves that his agent was quite correct.

Update: Well, to be pedantic, the latest book isn’t the final book, although it concludes the second (of four) story arc. Charles doesn’t intend to write the other two arcs for a few years yet.

January 25, 2010

Top SF/Fantasy works

Filed under: Books, Media — Tags: , , , , , , — Nicholas @ 17:21

Tyler Cowen linked to Alex Carnevale’s top 100 SF&F works, which has some odd choices (Jack Vance and Ursula K. LeGuin appear to have been the compiler’s favourite authors). In the comments to Tyler’s post, an alternate (unannotated) list by David Pringle was recommended. Pringle’s list doesn’t include Fantasy books, so there’s less overlap between the two than you might expect.

No list of this kind is, or can be, truly authoritative, but there are some common items on each list I can’t criticize as being in the top of the field:

  • The Moon is a Harsh Mistress, Robert Heinlein. Carnevale has this at #2. Pringle doesn’t list it, but has several other (in my opinion, lesser) Heinlein works on his list. This is one of the best libertarian SF novels ever. Even if you’re not over-fond of his work, this short novel is well worth reading.
  • Frankenstein Mary Shelley. This book made #6 for Carnevale, but didn’t make Pringle’s list. I read this when I was 12, and it made quite an impression on me, although I have to admit I like it much more now than I did on first reading it.
  • Dune, Frank Herbert. Carnevale likes it much more than Pringle (#11 versus #48). I liked the original book, but lost interest sometime later in the series.
  • The Hobbit and The Lord of the Rings, J.R.R. Tolkien. Not the original fantasy work, but probably the most common source for inspiration (and verging-on-outright-plagiarism) for an entire sub-field of Fantasy.
  • Stranger in a Strange Land, Robert Heinlein. One of the most subversive books ever published, at least as far as the middle class of the 1960’s was concerned. On the surface, it’s the story of a Martian named Smith. It seems to be one of those books you either love or hate — not much middle ground here.
  • Alice in Wonderland, Lewis Carroll. Pair this with Carroll’s Through the Looking-Glass for the full effect. Another author whose work has been strip-mined for ideas by later writers.
  • 1984 by George Orwell. Pringle’s #1 pick and Carnevale’s #26. I’d certainly put it in my top ten.
  • Fahrenheit 451, Ray Bradbury. This book made both lists (#8 for Pringle,#27 for Carnevale), but I’m afraid I’ve never read it (I tried a couple of Bradbury books when I was in my early teens, but never warmed to him as an author).
  • The Man in the High Castle, Philip K. Dick. Another book that made both lists, but which I haven’t read, and for similar reasons. Early experiences with an author’s work can have long-lasting effects.
  • A Fire upon the Deep by Vernor Vinge. A book that appeals to both fans of the huge stage of deep space and aficionados of the early Internet.
  • Citizen of the Galaxy, Robert Heinlein. One of the very best “young adult” SF novels from before they called them that. Both a coming of age novel and a condemnation of slavery and hypocrisy. Powerful stuff for young minds.
  • Starship Troopers, Robert Heinlein. Another great polarizer: it’s either the best military SF novel ever written or the worst piece of hyper-Fascist propaganda ever written. It’s interesting that Heinlein wrote this book at about the same time as he was working on Stranger. Readers who only knew about the one work might have suffered severe mental whiplash to find he’d written the other one, too. Either way, pretend that the film never happened (aside from the names, it doesn’t have much to do with the novel).
  • The Hitchhiker’s Guide to the Galaxy, Douglas Adams. You want whimsical? HHG took whimsy to a whole different level. What Terry Pratchett did with Fantasy, Adams did with SF.
  • Animal Farm, George Orwell. A book that suffers from being pushed on high school students as mandatory reading. The revolution on the farm, and the aftermath.
  • The Baroque Cycle, Neal Stephenson. A huge four-volume work that repays the effort to work through. Some authors work best at a certain length (short story, novella, novel, etc.). Stephenson seems to work best at the library-shelf level.
  • Ringworld, Larry Niven. I wouldn’t call this a top-ten, but the series of books in this series certainly belong in the top 100.
  • A Canticle for Leibowitz, Walter M. Miller. Post-apocalyptic done well.
  • Snow Crash, Neal Stephenson. Certainly one of the most entertaining books I’ve ever read (it helped that I was working in the computer industry at the time). From Stephenson’s earlier less-than-library-shelf-length period.
  • The Day of the Triffids, John Wyndham. A book I had to read in middle school, yet one I still recall with great affection. Few books can survive being forced down kids’ throats. This one can.
  • Memory, Mirror Dance, and A Civil Campaign, Lois McMaster Bujold. I had trouble stopping at just three of Bujold’s “Vorkosigan” series, as they’re all highly entertaining and deeply engaging. Some call it space opera, but it’s far more involved and well-executed than that easy label would indicate. One of the very best SF authors ever. Her more recent work is predominantly Fantasy, and while they’re very good, I’m more interested in her SF writing.
  • The Atrocity Archive and The Jennifer Morgue, Charles Stross. Imagine if the British secret service had an even more eldritch secret service component. But run strictly according to civil service rules.
  • Pyramids, Men at Arms, Interesting Times, and The Wee Free Men, Terry Pratchett. Another author for whom it is difficult to select even a few examples (they’re all so good). His Discworld series started as a simple pastiche of typical swords-and-sorcery novels, but which quickly outgrew the confines of the first few books. The Wee Free Men is the first of a series of Young Adult novels for the Discworld (including A Hat Full of Sky, Wintersmith and the forthcoming I Shall Wear Midnight).
  • Old Man’s War, John Scalzi. Another military SF story, but so well thought-out and executed as to transcend the ordinary levels of the sub-genre. Follow-on works are equally good (The Ghost Brigades, The Last Colony, and Zoe’s Tale).
  • Island in the Sea of Time, S.M. Stirling. Another time-travel story, but avoiding the usual pitfalls of time travel story lines (the secret was to go back before written history…). This was the first book of a trilogy. Stirling is currently completing a related series of stories hinging on what happened to the world left behind in the original trilogy (starting with Dies the Fire).
  • The Probability Broach, L. Neil Smith. More interesting (and amusing) ideas per page than any other novel of its era. Another libertarian book, but don’t let the label scare you off: great reading.

What’s that? No Clarke? No Asimov? No Sturgeon? No Card? No Zelazny? No Brunner? Not in the top whatever-number-I-stopped-at. Each has strong fans, and some good work, but not top-rank in my view.

November 26, 2009

Damning with not-so-faint damns

Filed under: Media, Technology — Tags: , , — Nicholas @ 08:11

A clearly impartial and unbiased advance review of James Cameron’s Avatar, due for release in December:

Budgeted at a reported $237m (£143m), Avatar is Cameron’s first dramatic feature since the record-breaking Titanic, back in 1997. The film is a science-fiction fantasy set on a verdant planet called Pandora and following the adventures of a US Marine played by Sam Worthington. Cameron shot the film on his own patented “fusion digital 3D camera system” and experts argue that the results take 3D techniques to a whole new level. [. . .]

The reviewer, however, begs to differ, describing the film as “alienating” and “weird”. Moreover, he/she argues that its pioneering visual technology is liable to induce nausea in the viewer. “The problem is with cutting in between 3D focus points and perspective,” the mystery critic writes. “The mind cannot adjust to it without a buffer — thus, Avatar is literally vomit inducing.”

Even the review’s praise comes with a sting in the tail. “There are some beautiful moments [in the film],” it concedes. “But overall it’s a horrible piece of shit.”

October 20, 2009

More “tech the tech” talk from J.J. Abrams

Filed under: Media — Tags: , , — Nicholas @ 09:37

You felt that the “chance” meeting between the new Kirk and the old Spock was more like a run through the infinite improbability drive than a sensible plot point? Wait . . . it gets more improbable:

When Star Trek arrives on Blu-ray and DVD Nov. 17, extras like deleted scenes and commentary will answer some lingering questions. Abrams said the DVD includes a scene cut from the film that features Spock Prime (Nimoy) dropping some logic about the unlikely chance meeting.

“In the scene, Spock explains that (the encounter of Kirk and Spock Prime) is a result of the universe trying to restore balance after the time line is changed,” Abrams said. “They acknowledged the coincidence as a function of the universe to heal itself.”

Abrams said he cut that scene because he liked the mystery the chance meeting provided — and the idea that Kirk and Spock are destined to be friends. (Another DVD mini-feature, titled “The Shatner Conundrum,” will tackle the absence of William Shatner, the original Captain Kirk, from Abrams’ movie, according to io9.com.)

October 19, 2009

The fantasy economic world of Star Trek

Filed under: Economics, Media — Tags: , , — Nicholas @ 07:32

Dmitry Chernikov looks at the nonsensical economic “system” of the Star Trek universe:

Similarly, we never see Quark, who owns a bar on the space station, get paid for dispensing his drinks; at least, I don’t recall ever seeing that. For a guy obsessed with latinum (now there’s your sound money—latinum-standard; and in another episode we learn that gold is worthless compared to latinum) this is a problem, especially given that the Federation military employees on the station don’t receive any wages. Once again, the necessary obscurity of how Quark’s business worked (because it obviously cannot work) seems rather annoying. So the conundrum remains. And even for the Ferengi, all business and consumer transactions appear to be performed with cash, that is, actual bars of latinum. They apparently have no stock market (the litmus test for whether a society is capitalist or socialist), no electronic asset transfers, no banking system (banks have two distinct roles, often unfortunately confused under the present fiat money regime: they are (1) warehouses storing valuable property, such as gold coins, a function called deposit banking; and (2) intermediaries between lenders and borrowers, called loan banking), no insurance companies, nothing. There are no big corporations, no brand names, no advertising (on the absence of any kind of commercial mass media see below), no private retail outlets, no Internet shopping. There aren’t even latinum coins, for goodness’ sake! And if not the Ferengi, then who else?

Note that the Ferengi are, of course, the classic stereotype of the Jews, as propounded by Nazi and Soviet propaganda: ugly; crass, materialistic, and base; grasping and scheming; and treacherous. But, in the case of Quark, not entirely without redeeming qualities, particularly when he cooperates with the ruling regime on the station. That is, quite despite his perverse nature, there exists within Quark’s ignoble little soul a weak aspiration to be like the far more noble humans. What a grotesque and utterly false parody of a typical businessman (and Jews, to boot) within a system of natural liberty and free enterprise! In the unhampered market economy the “superior men,” the better-off, the elite or the society’s “natural aristocracy,” are drawn into service to the common man. Entrepreneurs become rich because the masses, the “poor,” rush to outbid each other on the products offered to them for sale. If they fail to satisfy the consumers’ wants, they will forfeit their wealth and their vocation as entrepreneurs and be demoted into the rank of laborers. Personal wealth in a free society is thus a consequence of previous success in serving consumers.

[. . .]

Now it is obvious that the variety of goods and services available on DS9 is extremely limited. The personnel seem to be, as one, ascetic workaholics. I’ve never seen any character go shopping. I suppose that these guys are supplied with government-made standard-issue everything. This can’t be a lot of fun, don’t you think? Also, don’t misunderstand me, I love classical music, but is that all that the Federation citizens are allowed to listen to (I am referring to ST: The Next Generation, in particular)? In other words, instead of a highly developed commercial culture expected of a sophisticated multi-planet division of labor, we get almost complete conformity and uniformity. To put it another way, the characters “have no life”; they are totally devoted to the welfare of the “collective,” the collective being, of course, their superior officers. I could never understand why the Federation was so contrasted with the Borg. The Borg are very much like the Federation, only perhaps with slightly less individual freedom. (Maybe the difference is that, unlike the Borg captives, the Federation serfs love the Big Brother.)

October 13, 2009

Just fill in the technobabble later

Filed under: Media — Tags: , , — Nicholas @ 12:41

Charles Stross explains why he isn’t a Star Trek fan:

I have a confession to make: I hate Star Trek.

Let me clarify: when I was young — I’m dating myself here — I quite liked the original TV series. But when the movie-length trailer for ST:TNG first aired in the UK in the late eighties? It was hate on first sight. And since then, it’s also been hate on sight between me and just about every space operatic show on television. ST:Voyager and whatever the space station opera; check. Babylon Five? Ditto. Battlestar Galactica? Didn’t even bother turning on the TV. I hate them all.

I finally found out why:

At his recent keynote speech at the New York Television Festival, former Star Trek writer and creator of the re-imagined Battlestar Galactica Ron Moore revealed the secret formula to writing for Trek.

He described how the writers would just insert “tech” into the scripts whenever they needed to resolve a story or plot line, then they’d have consultants fill in the appropriate words (aka technobabble) later.

“It became the solution to so many plot lines and so many stories,” Moore said. “It was so mechanical that we had science consultants who would just come up with the words for us and we’d just write ‘tech’ in the script. You know, Picard would say ‘Commander La Forge, tech the tech to the warp drive.’ I’m serious. If you look at those scripts, you’ll see that.”

October 9, 2009

Awful book covers

Filed under: Books, Media — Tags: , , — Nicholas @ 17:50

John Scalzi has a nominee for the “Worst Book Cover by a Major Publisher” award:

Worst_book_cover_nominee

Seriously, now, DAW, wtf? I know there’s a recession on, but there must be a better class of 12-year-old you can hire to push about the “liquefy” tool in Photoshop. I get that you were aiming for “chintzy, kooky fun” but you landed on “Fourth grade class project on Lulu.com,” and that just isn’t cool, and more to the point, you should know the difference. Were I an author in this particular anthology I would be sad I couldn’t show my friends the book I was in without them asking how much it cost me to publish it. I’m frightened to show it to graphic designers I know because I don’t want to be sued for damages when it causes blood to shoot from their ears. And as a reader, I can say the cover makes a really excellent argument for owning a Kindle.

August 31, 2009

Frederick Pohl graduates from high school

Filed under: Books, Education, Randomness — Tags: — Nicholas @ 07:42

Fred Pohl, the long-time science fiction author (his first published piece was a poem in the October, 1937 issue of Amazing Stories, according to Wikipedia) has finally received his high school diploma:

Happens that I never graduated from high school, the reason being that I quit school as soon as I was old enough, which was 17. I had several reasons for doing that, but the one I prefer to give when asked that question is the one given by my friend John Brunner when he quit in England, at about the same age. That was, “I had to leave school, because it was interfering with my education.” (In case you wonder, I didn’t go to college, either. I did teach at several and lectured at scores if not hundreds of them, all the way from local community two-year schools to the Ivy League, in maybe a dozen different countries as well as our own, but I never attended one.)

[. . .]

I do have one problem, though. I remember matchbook ads for a correspondence school, back in the days when people still carried matchbooks, which promised that people who got a high-school diploma would get $25 more a week. The problem is I don’t know whom to bill.

August 27, 2009

Now it’s Star Trek‘s turn

Filed under: Humour, Media — Tags: , , — Nicholas @ 15:59

John Scalzi returns to the well of nerd bile (see last week’s geek-disturbing here), this time he’s aiming at Star Trek:

Me: Star Wars design is so bad that people have to come up with elaborate and contrived rationales to explain it.

Star Wars Fanboy: YOU ARE SO VERY WRONG AND I WILL SHOW YOU WHY WITH THESE ELABORATE AND CONTRIVED RATIONALES.

It’s a little much to hope for (or fear) the same result two weeks in a row, but nevertheless I promised everyone I’d point and laugh at Star Trek design, so here we go. I’ll confine myself to things in the movies. There are eleven of those, so it’s not like this will be a problem.

V’Ger
In Star Trek: The Motion Picture, a Voyager space probe gets sucked into a black hole and survives (GAAAAH), and is discovered by denizens of a machine planet who think the logical thing to do is to take a bus-size machine with the processing power of a couple of Speak and Spells and upgrade it to a spaceship the size of small moon, wrap that in an energy field the size of a solar system, and then send it merrily on its way. This is like you assisting a brain-damaged raccoon trapped on a suburban traffic island by giving him Ecuador.

July 21, 2009

How to respond to a Hugo list kvetch

Filed under: Books, Media — Tags: , — Nicholas @ 16:34

John Scalzi is in fine form:

What makes this an error is the tangential fact Mr. Roberts is a science fiction author himself. Here’s something that we in the kvetching industry like to call a “pro tip”: If you take the time to squat and pinch off a steaming ass-loaf of condescension onto the heads of the people most committed to the genre of literature you happen to write in, you may find they will remember that fact when they see your books in the stores. As in “oh, here’s the book of that guy who thinks my taste in literature sucks.” How motivated does that make the average science fiction fan to buy a book? Well, you know: How motivated would it make you?

Now, I assume Mr. Roberts didn’t intend to come across as arrogant and hectoring to his primary audience, because very few people so willfully attempt to ankle-shoot their own career, even the ones with an academic aerie such as Mr. Roberts possesses. I suspect he believed he was being stern but fair. However, I also suspect that science fiction fandom, not in fact being comprised of students who have to sit for a lecture in order to graduate, may have its own opinions on the matter. In the real world, people don’t like being told, while being gently and paternalistically patted on the head, that they’re goddamned idiots. Especially from someone who then turns around and hopes to sell them a book.

The short form of this is to say that it’s one thing to believe a book on the Hugo shortlist (or, as is the case of Mr. Roberts, all the books on the shortlist) is or are mediocre. It’s another thing entirely as a writer to criticize a reader (and someone you’d presumably like to make your reader) for his or her taste in books. The first of these is perfectly valid; taste is subjective. The second of these makes you look like a jerk to the people upon whom you presumably hope to build your career.

Which is of course perfectly fine, if that’s what you intend to do. I’d just make sure that it is, in fact, what you intend to do.

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