Self-published stories aren’t a terribly new convention. People have been paying to have their works released for a long time. But, with the advent of the internet and the widely available platform for author promotion and creation, self-publishing has become a common way for authors to get their works into readers’ hands.
I won’t lie. I have some pretty mixed feelings about the widespread use of self-publishing, mostly that for me it often becomes overwhelming to even glance in the way of self-published authors. The mountain of works simply is so hard to sift through that I often don’t tread very close.
However, there are some fantastic self-published works available online.
The Martian, Wool, A Long Way to a Small Angry Planet.
The standouts in self-publishing show that the publishing method isn’t necessarily reflective of the quality of work.
So, how do we accommodate self-publishing in our awards?
The Martian by Andy Weir is very highly regarded. It’s a well loved story with fans coming out its ears. But, to many SFF lovers’ surprise, it wasn’t eligible to be nominated for the Hugo Award in 2014 when it was picked up for publishing by Crown Publishing. The book had previously been self-published and without heavy revisions would not have been eligible. Crown decided to publish the book very much as-is, leaving the work ineligible and retaining its 2011 publication date.
The problem in awards is multifaceted. By and large, I think it comes down to a few issues: exposure, inundation, and gatekeeping.
Self-published authors are often the sole marketers for their books. They are the ones who are responsible for sending out review requests, getting the book available, and making sure the book is in the eyes of buyers, all while having to write, edit, and design the book. This is extremely difficult without the web of connections that many publishing houses have.
On top of all this, many readers continue to go to traditional publishers for their books and for those who may be open to smaller press or self-published works, the lack of in-store browsing ability and the difficulty in making your story available in online suggestion algorithms proves a big barrier.
In the event that a reader does manage to find their way into the self-pubbed section of Amazon, or Kobo, or whatever platform they may be using, there are so many self-published works that standing out may prove difficult. Not impossible, surely, but hard to do, especially without an existing strong following.
So, what do we do with self-published works that are deserving of awards?
This is the part where gatekeeping comes in.
Currently, the big awards in SFF (not to mention the broader literary community) are difficult to break into and not structured well for self-published authors.
Often, awards are either chosen by panel, or through a fan or membership nominating system. This leaves self-published works out of the loop. Nominating systems for panel awards often require submission by a publisher, and membership and fan nominating systems tend to still require the same-year publication date requirement, which often isn’t enough time for a popular self-published work to “break out,” and clumps those books together with traditionally-published novels, which have significantly more budget and reach.
Again, here I feel conflicted.
Something about this seems so unfair, as though the cards are stacked against self-published works. However, extending deadlines makes eligibility for self-published works opens up the door to complaints that the work isn’t being judges with its peers or that the system is unfair in the opposite way.
The Hugos did recently propose extending eligibility for books not originally published in the US. This wasn’t overly controversial, so maybe I’m worrying over nothing. I can’t imagine people denying the difficulties in publishing and promoting a book on your own.
But, maybe the Kitschies have it right, but by thee token, a digitally native category implies that self-pubbed can’t compete with traditionally published works in content quality.
There’s a “Digitally Native” category there that seems to have served well. The Kitchies is a panel award, though, so I wonder how that would play in to a fan or membership system.
Regardless, something has to change in order for the community to recognize the self-published works that can blow us out of the water.
What do you think? What rules changes or category additions would best serve this purpose?
This book is a fantastically varied tale that is compelling and believable science fiction.
In Andy Weir’s The Martian, astronaut Mark Watney is one of the first humans to be on Mars, number 17, to be exact. His six man crew is supposed to land and stay on Mars for 31 days, but, on day 6, a massive sandstorm forces an early evacuation and termination of the mission. The crew scrambles to leave, and Mark gets knocked out. His life sign monitors flat-line, and the crew is forced to leave Mark’s body on Mars. There’s just one problem:
Mark isn’t dead.
He’s now left to try and survive alone on Mars until the next mission to Mars lands, over four years later.
There’s a lot going on in this book, so first things first. Let’s talk about Mark. A very big chunk of the book is Mark’s mission logs, which he starts taking when he realizes he’s stuck and is deciding that he can, in fact, survive for a rescue mission. The logs read much like a personal journal, and we get a sense for Mark’s personality. Mark, we’re told, deals with much of his stress through humor. The first chapter or so makes sure we’re aware of this aspect of his personality. To be honest, I was a little turned off by it at first. Weir lays it on a little thick. But, the more Mark focuses on his mission and survival, the more balanced his voice becomes.
Mark is a very creative thinker. Sometimes it was a little disappointing that we didn’t get to see his brain working through the problems he faced. Instead, the reader sees a lot of the post-idea formation. The actual thought process doesn’t really make it into his logs, but, hey, that’s what a log is for: recording the actions and reasons behind them for future review. We do, however, get a lot of Mark’s reactions to his survival missions and problem-solving attempts. That’s probably where some of Weir’s best work is. Mark’s records where he is panicking are very believable.
The story is counter-balanced by third-person narrative interludes of what is happening in the NASA control centers. Because they can’t always communicate, the NASA employees who find Mark and work to rescue him are often bustling. Weir very often shows the organization’s thought process and how different it is, at times, from Mark’s. What is very cool in this is that we get to see the way that the thought processes, though different, often come to similar conclusions. It also provides a contrast between the more organic self-preservation attempts Mark is making and the rigid institutional attempts that are working to bring him home. This results in some clashes, but the frustration is on both sides and their cooperation is that much more valuable for it.
The only thing I occasionally didn’t like was the quick problem-resolution sequences that occurred. It sometimes seemed that there were very quick solutions to the problems Mark had. When he was looking for a food supply to augment his provisions, the solution was straight forward. Surprisingly there were very few hiccups with implementing the solution. I expected more sustained problems. Another instance of this was when Mark is travelling. There are some very serious issues with his travel plans, some of which, we’re told by the NASA narratives, he couldn’t see coming until it was too late. It felt like there were a lot of times that Mark’s problems were overblown in their presentation. That being said, the story is very fast paced and we see a lot of creative thinking (on both Mark and Weir’s behalves).
As far as “realistic” science fiction goes, this isn’t just enjoyable, it’s very well presented. The characters are likable, there is a sense of urgency, and the story is compelling. A solid 4 out of 5.
Andy Weir talks about how he wrote the story here: http://bit.ly/1qpzBKZ
I received this book for free for an honest review via Blogging for Books.