What I'm Looking Forward to about This Year's Nebula Conference Programming: An Appreciation of Kate Baker

This is the final part of a four part series. In this part, I’ll talk about plans down the road and make some predictions for what SFWA will witness over the next few years. Overall, I think it’s going to be nothing but positives and that SFWA will continue its tradition of helping authors.

The series so far:

1. Part one describes the organization and its history.
2. Part two talks about the decision to admit independent and small press published writers.
3. Part three talks about what happened when the independents were first admitted.

Going forward, I expect more and more indies to enter the organization as it proves that it’s giving them solid value for their membership in the form of:

• Community
• Knowledge sharing
• Publications like the Bulletin and the Singularity
• Chances attend and sell books at places like Baltimore Bookfest, ALA, and other book-related events
• Marketing opportunities for themselves such as the Speakers Bureau
• Promotional opportunities for their work such as the New Release Newsletter
• Reading material (there’s a lot on those internal forums)
• The wealth of networking and information available via the SFWA Nebula Conference
• Existing programs like Griefcom, the Emergency Medical Fund, and the Legal Fund

I also expect the SFWA offerings that attract indies to expand and develop. Here’s some specifics, ranging from those already in the works to some still in the planning stages.

SFWA Storybundling

I want to start by plugging that SFWA Fantasy Storybundle again, because it’s still up, and b) it’s a great example of a program that we’ll continue to expand. Next year we go from two bundles to three altogether — one focused on SF, one on fantasy, and a third on games — and we’re thinking along the lines of a Nebula nominee bundle for 2019 that would provide some financial benefit to being on the ballot, which I think is nifty.

It’s also an example of SFWA writers working together. All of the Storybundle contributors have been coordinating social media and interviews, and it’s definitely going to make it worthwhile to participate, plus raise a little money for the organization in the process.

Partnering

The Storybundle partnership, as well as the terrific Nebula-based HumbleBundle that ran this year, are examples of good partnerings. Another is the support of Kickstarter, who has sent representatives to our Nebulas and Worldcon to talk with our members about not just the basics of running a Kickstarter but the advanced details that help them finetune such a campaign.

Kobo’s another example, as is ACX and Bookbub. Overall, though, there’s plenty of opportunities, and the sky’s the limit as far as expanding things go.

SFWA Nebula Conference Programming

I’d like the 2018 Nebula conference to be the first where we don’t get complaints about the indie programming, but human beings are human beings and that remains to be seen. There will always be glitches. I do expect it to be even better than last year. And as I said in the previous piece, I believe part of last year was more a question of perception rather than actual lack.

SFWA Stuff in the Works and Coming Soon
Several projects with strong implications for indies are in the works, such as:

SFWA Ed will be SFWA’s online school, offering content that will include plenty aimed at indie publishers, such as book cover design, book marketing basics, and working with social media. This project’s at the point where its coordinator is working with individual contributors and companies on the first wave of content; I expect to see it manifest fully in 2018.

The SFWA First Chapters Project is a budget item I pushed through this year. For those that haven’t worked with nonprofit corporations, one way to earmark some energy for a project is to make sure it’s represented in the budget, and while I had to yank it the previous year, this time I got it through.

Just as buying a book is an expenditure financially, reading that book represents an investment of time for most people. Accordingly, my thought is a compendium of only first chapters, giving the reader a chance to dip into a book and see whether or not they want to make that investment. Available only electronically (perhaps somewhere down the road in print form, who knows?), this would ideally hold first chapters from books by publishers ranging from indie to trad, but it’ll take time to get to that point. Therefore, we’ll start with the group that most needs some boost to their discoverability, and start with the indies.

I would like to stress that this is not open for material yet. If you want to make sure you get e-mailed when the project portal goes live, please e-mail me or comment below in a way that will let me know what your e-mail address is. (If you have been requested to not contact me, please direct that e-mail to office@sfwa.org.)

Still in the Planning Stage
Other items are a little further down the road, like these:

SFWA Mentorship Program is something I expect very soon. I’m looking forward to seeing what SFWA Board member Sarah Pinsker and her committee have put together.

SFWA Review Site with Listings for Editors and Other Publishing Resources is still nascent to the point where it’s a budget item I’ll propose for the 2018-2019 financial year. I’d like to see a portal where SFWA members can review copy & developmental editors, book formatters, cover designers, book publicists, and similar resources in a format modeled after review sites like Yelp or Angie’s List.

We do have a spreadsheet some members have contributed to, but recent issues make me think that we need to rework it in a way that lets people know if an individual has a pattern of bad behavior.

Whither SFWA?

Right now while there are some hybrid authors on the boards, the majority remains traditional. That a major one of the many reasons I’m sorry that we lost Maggie, but she put in a hell of a term and a half, and many efforts simply would not exist without her. So I hope we’ll see not just one but several indie members stepping up and running for the SFWA board in coming years. This is for selfish reasons — I’ve learned so much from our indies so far.

Supporting indie writers has strong implications for diversity, including meaning we can better serve the indie groups that have arisen because of traditional publishing’s obstacles, which can take many forms. I’m finishing up editing a SFWA roundtable podcast about the BlackSpecFic report that references this, along with a blog post about what action items for SFWA I perceive, and hope to have that up Wednesday or Thursday.

What else lies down the road? I don’t know. I love this organization and continue to think it’s worth putting a whole lot of volunteer time into every week, particularly at a time when for many of us, our financial livelihoods are in jeopardy. I get a whole lot of intangibles, including knowing that I’m paying it forward, in exchange for that time.

One great joy of working with creative professionals is the tremendous amount of talent, imagination, whimsy, and overall enthusiasm that they bring to projects. I close with one such example, our SFWA anthem, “Radio SFWA,” created by Henry Lien, in a Nebula conference that exemplified one more reason to join: just how much fun SFWA can be sometimes. I believe every time you hear someone screaming “woooo” in the background, there’s a very good chance it’s me.

#sfwapro

As part of a Twitter conversation, one of my favorite gamewriters, Ken St. Andre, suggested I write up something about SFWA and independent writers that goes into enough detail that people can understand why — or why not — they might want to join. This is part one of a multi-part series that will talk about some of the history behind the decision, and in this first part I want to talk about the organization prior to admitting independent writers. Part two will discuss how SFWA came to change membership criteria in order to make it possible for people to qualify for membership with indie sales in 2016, and some of the changes made as part of planning for that expansion. Part three will focus on how SFWA has changed in the intervening time, while part four will look at what I see as the changes that will continue as we move forward over the next decade. In all of this, I’m trying to provide something of an insider’s look that may or may not be useful, but certainly will be full of many words.

So what is/was SFWA, before the change? I’m going to paint in broad strokes here based on my understanding and research. (I’d love to see a book devoted to the history of SFWA at some point and one of our current projects is trying to collect that, under Vice President Erin M. Hartshorn’s direction.) The organization started in 1965 with Damon Knight organizing a number of professional genre writers in order to force publishers to treat writers better, namely pay them decent rates in a timely fashion while not taking excessive rights.

One of the first writers they helped was J.R.R. Tolkien, whose work has been pirated in the United States, Bob Silverberg said to me in email that there’s very few of those founding members left, but they included himself, Brian Aldiss, Harrison, Robert Heinlein, Kate Wilhelm and a host of distinguished others. Silverberg says Ellison as well, though the document he sent me seems to contradict that. At that time it was the Science Fiction Writers of America.

Initially SFWA was exactly what you would expect of a volunteer organization run by the most chaotic, capricious, and disorganized creatures possible: science fiction writers. Stories abound, including records getting lost because someone’s cat peed on them, Jerry Pournelle inviting Newt Gingrich to be the Nebulas toastmaster and a subsequent heated brouhaha that included some people walking out of the ceremony and Philip K. Dick agitating to get Stanislaw Lem expelled. My favorite remains Joe Haldeman’s account of the SFWA finances being somewhere in the realm of $2.67 when he became SFWA treasurer; he bought the notebook to keep track of them out of his own pocket.

The membership requirements were proof of a professional sale. Over time the memberships would expand, allowing associate members to join with a story sale, bringing in publishing professionals as associate members, and introducing estate and family memberships. The question of requalification – making members prove at intervals that they were still producing — was raised more than once, usually with plenty of heated discussion — but never implemented.

Along the way, SFWA grew and became an organization that did what its founders had envisioned, and more. Under Jerry Pournelle’s leadership, the Emergency Medical Fund, which helps writers with medical emergencies affecting their ability to to write, was implemented. A similar fund for legal situations followed. Ann Crispin and Victoria Strauss launched Writer Beware under SFWA’s auspices and began the fight to keep new writers aware of unscrupulous editors, publishers, and agents.

The fight to keep writers from being preyed upon remained a focus for SFWA. In 2004, a group of SFWAns, under the direction of James D. Macdonald, wrote Atlanta Nights in order to expose the unscrupulous practices of PublishAmerica. The book, deliberately constructed to be unpublishable, featured two identical chapters, a chapter of computer-generated gibberish, missing chapters, and a list of characters whose names spelled out the phrase “PublishAmerica is a vanity press”. It was accepted for publication by the company, which withdrew the acceptance after the hoax was revealed.

Another focus would be an effort unsurprising for a group of writers: establishing a set of awards, the Nebulas. While that may seem a bit cynical on my part, I’ll point much less cynically to the effect of the awards: the recognition of some of the best and most interesting F&SF over the years via a prestigious award group that has grown to include screenplays and Middle Grade/Young Adult Fiction as well as recognizing achievements in the field via the Kate Wilhelm Solstice award and the SFWA Grand Mastership.

Other good stuff that SFWA took on or did over the decades included a publisher audit that helped draw attention to auditing practices, started the SFWA Bulletin, a public-facing magazine aimed at educating and informing professional F&SF writers, and many efforts that started, worked for a while, and then died a graceful (sometimes less so) death when the volunteer driving them lost interest, died, or got fed up with SFWA.

Those membership requirements continued to change over the years, usually to reflect inflation. (To a degree. I’ve calculated that if we matched the buying power of the original rate, we’d be looking at closer to 20, 25 cents per word than the current 6.) The Science Fiction part was expanded to include Fantasy.

Over the decades, SFWA communications took multiple forms. The paper Forum was intended only for members and featured a letter column that was often lively in pre-Internet days. As the Internet grew in popularity, that shifted. The message boards were originally hosted on Compuserve and later moved to SFF.net, where they gained a name for being acerbic, nasty, and often contentious to the point where, when I joined, I was warned not to visit them. When I did, I found them considerably less heated than had been described, and not actually full of epic levels of bon mots, clever insults, and sundry literary feuds, somewhat to my disappointment. The SFWA Handbook appeared in multiple forms, compiling articles of interest to working F&SF writers. The SFWA Bulletin became SFWA’s outward facing publication, publishing not just what SFWA was doing, but articles of interest to all genre writers.

During Russell Davis’s term as SFWA President, Davis did something that would radically affect the direction of the organization: began the move towards reincorporation as a 501c nonprofit in California. The organization had originally been incorporated in Massachusetts, which meant there were restrictions that included having to use paper ballots for elections rather than being able to use electronic means. I will confess here that when the advantages of it all have been explained to me in the past, my eyes glaze over a bit, so I may not be the best person to speak to all of the motivations.

I joined SFWA in early 2006 but did not do much with the organization, as an associate member with a short story sale to Chizine. I found the message board system unwelcoming and generally once I’d joined, I figured I’d checked that box off my writerly bingo card and could now move onto something else.

However, I got asked to volunteer for a group assembled after an incident where a bunch of files got pulled from Scribd, including a number whose rights-holders did not want them pulled. That was an interesting group and I learned a lot about copyright as a result. I also served on a jury for the Nebula award for short story; our job was to put one thing on the ballot that we thought would otherwise get overlooked. My impression of SFWA was, I think, like most members: I didn’t think much about what the board was doing and I took advantage of some of the SFWA offerings, like the SFWA suite at conventions, the local reading series, and reading the Bulletin.

In 2012, I was asked if I’d take over as head moderator of the SFWA discussion boards, which had moved away from SFF.net onto the SFWA website. I had been the moderator of an often contentious discussion board for a game community as well as a BBS, and so I felt reasonably comfortable taking on the role. What I didn’t foresee was how that role would change my relationship to the organization, making me much more aware of its internal workings. And then, Steven Gould spoke with me in 2014 and asked if I’d consider running for Vice President. It was an interesting time in SFWA’s history, I liked the people, and so I said yes.

In Part Two, I’ll talk about the discussion and process by which SFWA came to admit independent writers. #sfwapro