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SPFBO2017 - The Self-Published Fantasy Blog-Off

Hello there

Pornokitsch will be participating the Self-Published Fantasy Blog-Off again this year, the third year of the competition.

You can learn more about SPFBO and its storied (if brief) history here

I'm reading 30 books, with the ultimate goal of choosing one finalist for the next round (the best part). I'll then read the other 9 finalists, score them (the worst part) and then there's an ultimate winner.

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Are genre readers more likely to separate the author from the work?

Unjustly Condemned

Discussion around separating 'art' from 'artist' is something that springs quite a bit - especially in the SF/F community. I have a lot of theories on why that's so:

  • we've got an academic fan tradition, and like to overanalyse context;
  • we're a tight-knit community and live in one another's pockets;
  • social media makes it so dirty laundry is everyone; 
  • our particular blend of escapism often stems from creative people outside of traditional social norms;
  • we sure have an awful lot of assholes writing in our genres

Take your pick. But whatever the underlying context, the ultimate question is still the same for each reader: if you don't like the author - personally or politically - do you still read them? Can you separate the author from the work? Should you? Discuss, ad infinitum.

I'm interested in how people answer this question quantitatively. Are readers more likely to separate art and artist than everyone else? And what about genre readers? Are we more or less likely to read books by people we disagree with?

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The art of publishing - who has form?

Fawcett Gold Medal

In Robert Calasso's The Art of the Publisher, the author distills to art of publishing to form - the "capacity to give form to a plurality of books as though they were the chapters of a single book".

This is a fascinating concept, particularly applicable in a world where branding is both understood as an art... and almost entirely ignored in the publishing industry. The most overt demonstration of form is, of course, the art and design of covers - and Calasso dedicates many thoughtful pages to the role of cover(s) across a publisher's list. 

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Confessions of a lifelong collector

Photo by SA Partridge

As a child, I was an avid collector of My Little Pony and Care Bears, despite the fact that my only regular source of income was the occasional envelope on birthdays and Christmas. Even then I couldn't just have one. I needed them all. It fell to my parents to bankroll this craze. I remember my father driving from one toy store to another to find the elusive Birthday Bear (a mustardy-coloured Care Bear with a cupcake on its chest). It was the only one I didn't have. If the Internet had been around we would have found one instantly, but my father’s dedication to the task was admirable. Father of the Decade, I say.

Advertising played a part.

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Small Press Shakedown: Cherry Potts of Arachne Press

9781909208100The UK has a fantastic small press scene. To celebrate the people behind the imprints, and help out the writers that are looking to them for publication, we've asked a number of editors to share what they're working on - and what they're looking for. This week our featured publisher is Arachne Press.

Could you tell us a bit about who you are and what you're doing?

Arachne Press was born out of frustration as a writer with my existing publisher, and an opportune redundancy, which meant the mortgage got paid off and possible poverty wasn’t going to mean homelessness, so I decided to take a risk and do what I had always wanted – yes, 1970’s careers advisor, I did it in spite of you – be a publisher.

It’s ended up being a much wider remit than that – I also run The Story Sessions an irregular live lit event in South London and an annual festival Solstice Shorts which mixes time-themed words and music, on the shortest day of the year on the Prime Meridian in Greenwich; I video as much of the live stuff as I can, and when we get funded, we have BSL interpreters as well to make our work as accessible as possible.

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Small Press Shakedown: Dave de Burgh of Tickety Boo Press

Tickety Boo

The UK has a fantastic small press scene. To celebrate the people behind the imprints, and help out the writers that are looking to them for publication, we've asked a number of editors to share what they're working on - and what they're looking for. This week our featured publisher is Tickety Boo Press.

Could you tell us a bit about who you are and what you're doing?

Tickety Boo Press was started at the end of January, 2014 by Gary Compton, who remains our driving force and managing director. We're a small, independent publisher, and we publish Science Fiction (through our Space Dock imprint), Fantasy (through our Phantasia imprint), edgy, crazy, not-your-usual SpecFic thrillers (through our Critical Mass imprint), and Horror (through our Spectral Press imprint). We follow the traditional model of publishing, submissions, etc.

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Dolores Umbridge is the scariest villain in Harry Potter

Slide1

Yes, you read that right. In a world populated with Death Eaters, Dementors, and Dark Lords, where giant snakes possess the dead and werewolves thirst for the blood of children, the diminutive, frilly-frocked schoolmarm from Harry Potter and the Order of the Phoenix is the absolute worst.

Don’t believe me? Let’s take a moment to consider the competition. Sure, the Dark Lord is all dark and lordly, but he’s also pretty one-dimensional. His motivations aren’t particularly complex or original. He’s hateful to everyone and everything, so there’s no chance of us sympathizing with him. He’s even hideously ugly, just to hammer the point home. In short, he’s so thoroughly eeeeevil that there isn’t room for much else, and as I’ve argued before, eeeeevil is dull.

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The Last Dangerous Visions

Ran-berkovich-59513

The Last Dangerous Visions might be the most famous science fiction book to never exist. 'TLDV' was the long-mooted and nearly-almost-published sequel to Dangerous Visions (1967) and Again, Dangerous Visions (1972) - two vastly important and influential publication in modern speculative fiction.

This ambitious anthology, seemingly intended to be the final word in contemporary SF, was delayed for numerous reasons, documented elsewhere by both Ellison and many others. The anticipation, the delays, and the numerous authors it affected made for, to put it mildly, a great deal of drama. 

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