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SFWA Admits Gamewriters, All Heck Breaks Loose, Film at 11

picture of polyhedral diceSo this morning one of the items that’s been hovering in the wings for a couple of weeks now finally went out, which was the announcement of the game writing qualifications. Since there there’s been a lot of stir and some questions about it. So here’s some answers.

Q: Hey, I’m a SFWA member! Why didn’t I know about this earlier?

A: I’m not sure. We publicized the vote before and when it happened, we had a SFWA chat hour devoted to it, and we’ve been talking about it on the discussion forums for over a year, I think, including calls for people to serve on the committee and make recommendations.

Q: Where did these qualifications come from?

A. From the Game Writing Committee, which researched the question first of whether or not we should put the issue to vote and then what form the qualifications might take. We included some game writers on the committee (its members are Jennifer Brozek, Steve Jackson, Richard Dansky, Rosemary Jones, Noah Falstein, and Jim Johnson with Matthew Johnson as the Board Liaison); the SFWA Board used their overall recommendations as the starting point.

Q: What are the qualifications?

A: Here you go. You can find them here too.

Games in any medium may be used for qualification so long as the game has a narrative element, is in English, and in the science fiction, fantasy, horror or related genres.

Prospective members working on games may qualify by showing a sale or income in one of three ways:

By making at least one paid sale of a minimum of 40,000 words to a qualified market, or three paid sales to qualified markets totaling at least 10,000 words. Game publishers may be designated as qualified markets using the already established process and criteria used to qualify fiction markets.
By showing they have earned a net income of at least $3,000 from a game that includes at least 40,000 words of text (not including game mechanics) over the course of a 12-month period since January 1, 2013. Income can be in the form of advance, royalties, or some combination of the three.
If no word count is possible, such as work done for a video game, prospective members can qualify based on one professionally produced full-length game for which they were paid at least $3,000, and with credits to no more than two writers clearly shown on the work.
Note that money from crowd-funding campaigns can be used as part or all of the required income once the game has been delivered to backers, but the amount that can be claimed cannot be more than the net income from the number of games produced and delivered to backers (calculated by the number of backers multiplied by the minimum tier which receives a copy of the game.) Work done for salary is not eligible.

For membership questions not answered above, please contact Kate Baker, SFWA Director of Operations, at operations@sfwa.org.

Q: Why don’t game instructions and mechanics count?

A: Because we consider them nonfiction.

Q. Why don’t multi-book contracts count?

A. Actually, they do. They are not considered “salaried” but often given with contracts w/ advances.

Q: Why have you excluded work done for salary?

A: That was built into the original set of requirements and in talking to the committee, it seems to me to be an oversight. Looking back through discussions, the original thinking was in practice salaried writers are unlikely to qualify because of the rule against works by more than two authors.

So are we re-examining this in light of the many people pointing out the issues with it? Yep! The Game Writing Committee, the SFWA board, and a couple of staff members have all been mailing and talking back and forth about it most of the day.

Do I think it will get changed? *shakes magic 8-ball* All signs point to Yes — but I cannot say definitively. We’re discussing things right now, and I’m pushing to tweak that part.

Q: Why did you put this out if it wasn’t perfect?

A: Because this is how we make it perfect, by putting it into action, seeing how it works, and adjusting accordingly. It’s what we did last year when admitting indies and that also remains an ongoing process. If you’re a SFWA member who wants to help with that process or a non-member who wants to provide useful feedback, mail me at president@sfwa.org.

Q: Will there be a gamewriting Nebula Award?

A: Not at the 2017 Award ceremony, but stay tuned for further developments…

Q: Do you, personally, support gamewriters joining?

A. Dude. I’ve been playing D&D since I was 11 and that was the ancient, original set that came out right after Chainmail. I worked in a book/game store for close to ten years. My bachelorette party was a Call of Cthulhu scenario that turned out to be Paranoia by the end. Of course I support this. I love gaming, and a good game is a work of art. I’m really looking forward to what this change brings.

ETA: I tweaked a couple things to make them clearer. I cannot say what the Board discussion will result in, but we are certainly paying attention.

128 Responses

  1. Is there a word missing? “Income can be in the form of advance, royalties, or some combination of the three.” That’s only two things. I assume the third thing is salary? -E-

    Reply

    1. Oh, wait, no, salary is excluded. So yeah, I’m not sure what the third thing is, there. But it sounds like things are still being worked on, so I’m sure it’ll all come out in the end. Glad to see this change! Game narrative writers deserve it! -E-

      Reply
  2. Pingback: SFWA Says It Will Admit Game Writers, All Heck Breaks Loose | File 770

  3. So, part of the problem here is that there is a negligible number of game publishers who publish 10 books a year. I can’t think of any, in fact, outside of Paizo and possibly Steve Jackson (who I think still has Pyramid, so that’s not entirely the same thing). Onyx Path might come close to 10 books a year, but it’s pushing it, and they don’t pay anything like qualifying rates. I’m also concerned about the distinction between “fluff” and “crunch” in RPGs — I understand that you’re primarily a fiction organization, but game writing is equal parts — there are very few opportunities to write just fiction (game fiction by itself doesn’t tend to sell as well to people looking solely to play the game). The best and most accomplished writers write both, sometimes in combination (fiction with rules to back it up) and that’s problematic given the guidelines. I’m also highly uncertain about the rules against multiple authorship — with large books (more than 100k words) you rarely have just one or two authors, simply because the production schedule is too short AND if an author has life issues come up, it’s too easy to throw everything off. It’s much more common to give out as much as 25k to multiple people, all of whom greatly deserve the ability to join. I urge you to have the committee rethink these guidelines and decide how qualifying markets work within tabletop game publishers. Thank you.

    Reply

  4. And I’m just like, “Wut?” because my writing for games hit the length and rate requirements for membership a long time ago, because I wrote fiction in games. Does that mean I can no longer qualify? That I was un-qualified and re-qualified?

    What’s mechanics compared to fiction? My primary clients are White Wolf/Onyx Path which integrate setting and systems. Does one game mechanics mention spoil thousands of words? Are those mechanics words individually excised? Is somebody actually going to go through the latter picky process?

    We’re y’all really thinking of D&D and video games and nothing else when you approved this?

    Reply

    1. Actually, sorry — that last line was unwarranted. I do appreciate the effort and the difficulties getting qualified for tabletop games mostly says something about tabletop games. But I do find it kind of confusing.

      Reply

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And For My Next Trick: AKA The Amazing Disappearing Nebula Nomination

Picture of Cat Rambo in a Cthulhu ski mask.
There’s power in looking silly and not caring that you do. -Amy Poehler
Well.

Short version: I’ve withdrawn my story from the Nebula ballot. Many congratulations to Bonnie Jo Stufflebeam, whose excellent story The Orangery replaces it on the ballot.

Long version: One of the best parts of being SFWA President or Vice President is that you get to be one of the people calling the Nebula nominees to tell them what’s up. This is a lot of fun because giving people good news is almost always a terrific experience. I’ve ever gotten to call former students on occasion, and thought my heart would burst from joy, because that is a terrific feeling.

This year I woke on February 16, the day we would be making the calls, to find a message from our Nebula Awards Commissioner asking me to give her a call. I did, and she presented me with news that both delighted and horrified me, that my novelette, “Red in Tooth and Cog,” was on the ballot.

Delighted, because I like that story, and think it’s a good one. A number of people whose opinion I value highly have expressed praise for it, and it’s also something that represents a victory for me. I was grimly determined to be published in the Magazine of Fantasy and Science Fiction ““ it was a publication that represented an enormous milestone to me ““ and that acceptance was my 44th submission to the magazine over the course of 12 years. It wasn’t that the other stories were bad ones. One of them, “Five Ways to Fall in Love on Planet Porcelain,” even went on to become a Nebula nominee in 2013.

And horrified, because I don’t want things to look like the Nebulas are motivated by concerns other than literary excellence, and it seemed to me that this could look like that since I have engendered a little popularity while President, mainly because I am so goddamn personable. And I was sure there would be a certain amount of grumbling about it. So before we moved forward, I had to decide whether or not to withdraw it

I made some coffee, went for a walk, and spent a good bit of time thinking about it, talking to my spouse and my best friend, as well as a number of other SFWA folk. I was aware that there was precedent for either decision. In the end, I thought that to withdraw it would be a disservice to the members who liked it and wanted to see it on the ballot. If I wasn’t satisfied that it’s a good story, if I hadn’t previously had a story on a ballot when not involved with the SFWA Board, then I might’ve made a different decision and there are undoubtedly parallel universes where our ballot was different. But if I was appearing on the ballot just because of the Presidency, the time for that would have been last year, when my first novel came out. I think. Maybe. Who knows? Maybe in another universe it did.

However, back in this universe, apparently the fact that in the course of editing the 8,000 word story, what emerged was actually short story rather than novelette length, had managed to escape us all over the course of the past year, and so my happiness at finally getting a chance to tell everyone, huzzah, came to an end a bit precipitously. You’ll forgive any rawness to my tone; I think it’s natural.

This presented me with a new dilemma. I could allow it to be moved to the short story category, which would have bumped off not one, but three stories, which had tied for that slot. But that seemed pretty unfair, and made three people pay for the screw-up, instead of just one. So, I’m withdrawing the story. Kudos to the wonderful reading still on the ballot — there is a ton of great stuff on there and you should read it all.

Should the length issue have gotten caught before now? You bet. But if it had to happen on my watch, I am relieved that it happened to me rather than someone else. Is it a solid gut punch? Sure. But there have been others in my life and this is hardly the worst. I still get to go to the Nebulas and enjoy them as one of the ringmasters of that circus. So…wah! Very sad in some ways, but so it goes. Sometimes one puts one’s big girl pants on and soldiers forward without too much entitled whining.

I will, though, try to squeeze a few drop of lemonade from this lemon. If you like what I’m doing, and if you want me to keep persevering, there’s several ways of encouraging me. You can:

Here is a link to the story.

Today’s been crazy. Tonight I’m working my way through some Tillamook chocoloate peanut butter ice cream, Black Jack, and a few levels of Skyrim.

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The Fireside Fiction Report and SFWA

Abstract Image
Outside the comfort zone is where the best art lies.
I apologize for not blogging about this sooner. It’s been a busy month, and things are only getting busier, with Worldcon tomorrow and then China in September. Someone wrote asking me to comment on the Fireside Fiction report, and this is what I’ve been thinking.

Like many folks, I read the Fireside Fiction report with dismay and anger, but not a lot of surprise. We’ve been talking on the SFWA Board about the findings this past week.

What can SFWA do about it? I could go in full guns blazing and demand that every editor involved in the situation resign and threaten to take markets off the Qualified List if they don’t shape up immediately. This action would, however, probably get nipped in the bud the minute I proposed it to the rest of the board. As I’ve noted before, SFWA is slow and hard to steer. Enforcement on this level is also difficult and impractical, I think, because this selection doesn’t usually happen in the open or in an overt way.

One of the reasons I keep insisting that magazines should be reading blind is that unconscious bias plays a major part in selecting things, which has been demonstrated in study after study. Conventions should be doing panels not on why to read blind, but how to implement it in a working way. Can we insist that magazines read blind? It might work better to encourage it, perhaps, by publicizing the ones that do. And I will point out that magazines who specifically say they welcome diverse stories seem to get more. Submission guidelines do matter.

So do slush readers. They’re one of the first lines of defense around those markets. Magazines need to pay attention to their slush readers, and train them read outside their comfort zone in order to find good stuff. A editor that doesn’t dip into the rejected pile every once in a while may miss some gems as well as a chance to teach their slush readers. That’s how I found Jessica Lee’s Superhero Girl.

One of the more radical things SFWA’s done during my time on the Board is to admit independently and small press press writers. One focus since then has been making sure we give those writers the resources they need not just to write, but to promote their work. This is a good step, but insufficient in this case. Self-publishing is one of the ways around the gatekeepers, but L.E.H. Light mentions this in her piece, “The Fireside Fiction Report: A Reader/Critic’s Perspective“, saying:

“What level of segregation are we headed towards when we get comfortable with having ONLY our own publications as our voice in the genre? And what alternative sources of success, cash flow, and critical acclaim are we walking away from? Can we not have both our own publications and inclusion in “mainstream” works, thereby reaching wider audiences and providing opportunities for more writers? This is an eternal debate, and one which there need never be a solution to. But it is one we need to continue to have, in conjunction with a dedication to support both “streams” of production when possible, so that we pressure the industry both from within and without.”

Writing workshops are a traditional means of networking and support for new writers, but we must acknowledge that scholarships are not enough. The writers workshops tend to advantage the people who already have a good bit of economic privilege, and while scholarships help folks get into the workshop, it’s primarily middle-class folks who have the resources to take six weeks off work and travel.

Remote education may be one of the best bets, material that people can learn from on their own speed and schedule. Right now we’re working on an initiative, led by Maggie Hogarth, called SFWA Ed, that I hope will be helpful in this regard. Classes will focus on craft, business stuff, and the history of speculative fiction. One of the early efforts being worked on right now is an overview of copyright basics, aimed at writers, that will help them from being taken advantage of, for instance.

Setting a good example is one of the best things SFWA can do. Making sure that our Board is a diverse range of members as well as trying to listen to member needs. Making sure our programming at the Nebula Conference doesn’t use black writers only on diversity panels, and that the Recommended Reading list covers a wide range of writers. I actively hunt for good stuff to add to the reading list and I try to find the stuff that people might not run across elsewhere.

Sponsoring more studies like this, trying to get at some of the whys and wherefores, would be great. Unfortunately, something like that would have to get added to the 2017-2018 budget; there’s no room in the current budget, which has been flensed to the point where some efforts had to be shelved.

Personally, I have found the best way to combat bias in yourself is to self-educate “” and then act using that knowledge. I belong to a Facebook group called How to Talk to Other White People about Race”, which has furnished me with a lot of useful tools, but I don’t want to wade into the fray acting like I know everything, because I don’t. I want to help, and I worry that some actions don’t accomplish that or actually detract from the conversation. If you’ve got suggestions, feedback, commentary, or resources, I’m listening.

Some additional useful links:

#sfwapro

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