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?
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Title: Wool (The Omnibus)
Author: Hugh Howey
Publication Date: January 25, 2012
Genre: Science Fiction
Overview: Jules has lived her whole life in the Silo. No one who lives there can remember the world before it. They only know that the outside is desolate and that the cleaners (those who leave the safety of the silo to clean the cameras) always die. When Jules is picked to be the new sheriff, she finds out that the silo is not just an isolated safe haven, but that it harbors the secrets of a society long since dead.
For fans of: Orson Scott Card, Veronica Roth
World-Building: The world building was crucial to Jules’ narrative. Everything hinged on the way in which the social and technical world around her was organized. In a world in which people are stuck in silo with over 100 floors, the world has to fit together well. Howey does this well. Major equipment and mining occur on the bottom (where resources would likely be more accessible), agriculture is spread evenly throughout and operates on hydroponics, the water is both recycled and taken from an aquifer (It’s not sure where this happens exactly, but at least it exists), and the government is placed at the top. All of this does create a feasible society with a well thought-out social stratification.
Additionally, Howey makes sure to answer the more important questions about the world: what do people do for trade (gain chits), how does the air get cleaned (entire floors are dedicated to air cycling), why aren’t there elevators (I can’t actually tell you this).
Character Development: This is one of the interesting points. Jules is herself throughout, and, while she does find out significant facts about her world, it’s no real surprise that she takes on large burdens and is unafraid of the challenges that face her; her character is that way from the beginning.
Lucas, however, changes a great deal. He starts out as a simple IT support man. He doesn’t really think about the inner workings of the Silo. What I like most about his development is that he takes these revelations and ruminates on them before making any decisions. He isn’t just taking anyone’s word at face value. This makes his later decisions and changes of heart that much more valuable.
An aside: I loved how he acts at the end of Casting Off. I had all of the feels.
Plot: The plot is faced-paced and Howey keeps you moving. Some of the twists are awesome. I will say that there are times when the danger is there just to make things feel more dangerous rather than to serve a purpose to the plot. Maybe if I were reading this as the novellas came out I would have seen them as having more purpose, but I doubt it.
Book Depository Link: http://www.bookdepository.com/Wool-Omnibus-Edition-Hugh-Howey/9781469984209