On Eating Frog Legs and White Asparagus by Jennifer Brozek

It all started innocently enough about five or so years ago. A fellow author sent me a link to an article about the Book View Café, and we figured: why don’t we do something like this? By this stage many of us in our small circle of writerly folks were already rather jaded about the opportunities available in the industry””especially for those of us who live in far-flung places like South Africa where there isn’t a big market for SFF fiction. Some of us had already been agented, had sold novels to big publishing houses. Some of us were not making it out of the slush pile yet”¦ or were exhausted by all those full requests for submissions that simply vanished into a sticky silence. Added to that, some of us also had had unpleasant experiences with small presses going under, taking their back catalogue out of print. And a good handful were simply daunted by the war stories told by their author friends who’d already had a mad whirl on the merry-go-round of getting published and had their fingers burnt.

When we put our heads together, we realised that within our core group, we possessed all the skills and experience already garnered in the publishing industry so that if we helped each other, we could do the same, if not better, than a publishing company.

But then why not set up our own small press?

I can give you one word for that: Freedom.

Instead we envisioned a co-operative, very similar to the one described in the Book View Café post, and Skolion came into being.

Our vision for our co-operative is underpinned by that one small word: freedom. Anyone who’s had a book stuck in a bad contract will understand why that one little word is so important to authors who’ve had a raw deal. We desired a situation where authors wanting to go their separate ways did not have to untangle their titles from a contract. We are a small group that works on a handshake, so it goes without saying that mutual trust is also highly valued.

So, how do we make it work?

While the group is a voluntary association, three of us have agreed to take on management positions in terms of editing, administration, and marketing. We are also looking into setting up as a non-profit organisation at some point in the future, and to that end, we’ve gone as far as drawing up a constitution for our co-operative that sets out clear goals and how we operate. While we aim to be flexible, we also believe in clearly defining how our processes work. This helps to keep us on track.

The emphasis of our work as a co-operative is on quality, not quantity. These days, there’s an alarming trend of indie authors putting out a book a month. This often results in the minimum viable product falling into the hands of readers. And readers aren’t idiots. They know all too well when they hold an inferior product in their hands. We aim to avoid that. We recognise that a good book is a work of art that may require more than one set of hands and eyes to help shape it. And time. From within Skolion, we help each other by assessing each other’s work with care and diligence. We are attentive readers who love our chosen genres and know what to look for in terms of story-craft. Thereafter, a story will enter however many editing rounds as needed before it goes through to layout and formatting. And of course, the all-important proofing takes place as well.

We place emphasis that power lies primarily within the authors’ hands themselves. They get to make important decisions about how and when they want to publish, how they wish to set their prices. As a team, we stand behind them, help amplify their social media reach, provide encouragement and support. It’s a win-win situation.

But what about co-operative vs. traditional publishing?

So, the question people sometimes ask, are publishers even necessary in this day and age? The answer is simple: of course! Depending on the publisher, they can offer authors much in terms of reach, expertise, and marketing. Big publishers will have many resources upon which they can draw, be it an existing footprint in terms of marketing, access to professional editors, and of course print distribution (this last being where indie publishing often can’t compete.) Depending on the project, the right publisher will absolutely be the right option for an author. But these days, with many publishers being averse to risk-taking, it’s also safe to say that not all projects are suitable for a particular publisher. Hence the reason that many authors are embarking on hybrid careers that span the range of traditional and small press to self- or co-operative publishing. And it’s the latter that I believe marries up the best of both worlds when it comes to traditional and self-publishing. Skolion supports its authors when they have books that won’t quite suit the traditional publishing model.

Where to start, though? How can you set up your own co-operative?

A few years back I encountered an interview with a well-known film director who talked about collaboration, and about “˜making it’ in a tough industry. I also believe his advice is applicable to other creative industries. Now I’m going to paraphrase horribly, because for the life of me I can’t track down that particular interview. The basics were that authors should not glomp onto people who’re further up the feeding chain than they are. Don’t ride others’ coattails, in other words. Often enough, these luminaries in your chosen field already have their network set up, the people they’ve grown accustomed to working with on projects. And they’ll be busy. They’ll have many obligations. I can guarantee that.

I’m going to be brutally honest here. The chances of one of these public figures noticing you long enough to either give you a shout out that will have tangible impact on your career or even to give you a hand up are slim to none. These folks are where they are because they’ve worked hard, as should you. Now I’m no Neil Gaiman, I’m a freelancer, and I’ve got zero time to read someone’s story just to give an opinion. (And neither can Neil, I’m sure.) Unless you pay me. Then we can talk.

Instead of hanging onto your favourite celeb author hoping for morsels, create a network of authors and creatives who are in a similar space where you are. Sure, some may have a novel or two out already. Or a novel being submitted. Or even have a few they’ve self-published. The trick is to help each other, to create a semi-closed network of authors and creatives who are willing to help each other. And, most importantly, a close circle of authors who trust each other. This last is a vital ingredient in making a voluntary association of authors work well.

How does Skolion handle the publishing process?

At first, we spend time beta reading and proofing for each other, and we maintain a list of the various skills folks have to offer. Various members can handle tasks such as layout, design or formatting, and if for some reason we need to outsource, we have a list of preferred professionals. We constantly pick up tips from our fellow indie authors to find out who they’ve worked with in the past and use people who have a good reputation in our chosen genres and who understand what we need.

We also set up a schedule and decide between ourselves on a realistic publishing timeline. This way we prevent books from releasing in clumps. We assign tasks to people, such as beta reading, editing passes, layout and formatting, as well as coordinating any marketing initiatives to help promote new and existing releases. With any outsourced work, we’ve found it best if the author herself pays for any work that needs to be done, be it commissioning illustrations or cover design. As far as possible, we split any costs that might come up to be as fair as possible. These could be related to hosting a website, paying for the design and printing of pull-up banners or booking a table at a convention. If any issues come up, our committee will discuss the best course of action and then inform other members of the co-op, in order to find a solution that will fairly accommodate everyone.

Perhaps the most important qualities we’ve discovered are patience, teamwork, and a willingness to play the long game without egos getting in the way. We understand that in this game of making books, we are in the process of breathing life into people’s dreams. After all, it was other people’s dreams made concrete in the books and films we adore that brought us this far.

The Skolion authors’ co-operative has been active since 2016, and for us it’s the journey that matters. Our authors include myself, Amy Lee Burgess, Cat Hellisen, Cristy Zinn, Carrie Clevenger, Icy Sedgwick, Jenny Rainville, Laurie Janey, Masha du Toit, Stacey Reilander, Suzanne van Rooyen, Tallulah Lucy, Toby Bennett and Yolandie Horak. Since working within the co-operative, many of our authors have gone on to win literary awards, or at least make long- and shortlists. For us it’s about having that all-important buddy system that helps us ensure that our work is the best that it can be. Find out more about us at www.skolion.org

BIO: Nerine Dorman is a South African author and editor of science fiction and fantasy currently living in Cape Town. Her novel Sing down the Stars won Gold for the Sanlam Prize for Youth Literature in 2019, and her YA fantasy novel Dragon Forged was a finalist in 2017. Her short story “On the Other Side of the Sea” (Omenana, 2017) was shortlisted for a 2018 Nommo award, and her novella The Firebird won a Nommo for “Best Novella” during 2019. She is the curator of the South African Horrorfest Bloody Parchment event and short story competition and is a founding member of the SFF authors’ co-operative Skolion, that has assisted authors such as Masha du Toit, Suzanne van Rooyen, Cristy Zinn and Cat Hellisen, among others, in their publishing endeavours.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

When I first buckled down to seriously try writing after graduating from college, I dreamed of crafting epic fantasy similar to books by George R.R. Martin and Joe Abercrombie. Their works were breaths of fresh air. Unlike the novels of Tolkien or Robert Jordan, these authors eschewed the black-and-white worldview of good versus evil for shades of gray. I wanted to write just like them.

Of course, I eventually discovered that there’s a reason Martin and Abercrombie are best-selling authors, and Martin takes many years between books. What they do is really, really hard.

Switching to Young Adult

Discovering that writing epic fantasy is a monumental task was the first step in finding my authorial voice. My critique group told me that my writing was more suited to a young adult audience. At first, I was dismissive of this observation, but I came around when I started reading more young adult fantasy and science fiction. I soon appreciated these books possess an intoxicating sense of adventure and discovery.

Eventually, I abandoned my quest to craft an epic fantasy for adults to attempt a young adult fantasy. A theme that fascinated me was the sense of estrangement and otherness that young people often feel at one time or another. At least, I recall feeling that way as an adolescent. My interest in this topic was enhanced by my experience traveling solo to Japan while a young man.

I have been fascinated with Asia, especially Japan, from a young age. My initial interest in Japan stems from the original Shogun miniseries and my father’s fascination with the country. Even now, close to twenty years later, I vividly recall visiting Japan’s ancient capitals, Kyoto and Nara, and traveling to Himeji to tour the majestic castle there. It was a fantastic trip that enhanced my interest in Asia and taught me a lesson about how people who find themselves in the minority for whatever reason feel.

Growing up in the Pacific Northwest in the 1980s and 1990s, I always found myself in the majority. Most of my classmates and friends looked like me and had similar upbringings. The struggles of minorities, either in race, gender identity, ideology, or social standing, always seemed distant. These people and their challenges were something I only experienced on the nightly news, never firsthand.

I can’t claim to know precisely what it’s like to be a minority because I’m not one. But in Japan, I came about as close as I probably ever will. Kyoto is a touristy city, but most tourists are Japanese. While meandering the grounds of ancient temples, I was often the only foreigner, a gaijin. I attracted attention wherever I went, especially from school children with assignments to speak English to a foreigner. None of these interactions were negative, but I was very aware that in this environment, I was in the minority, that I was the other. For someone who had never experienced that before and was naturally introverted, it was uncomfortable at the time. I look back at it now as a wonderful experience. It gave me an inkling of what it is like to be a minority and taught me firsthand that the Western view of the world is only one perspective among many.

Later, I would draw upon my experiences in Japan and Southeast Asia in my writing for young adults.

Weaving in Themes

Feeling like the other and being caught between two worlds are themes that come up time and again in my young adult fantasy series, The Allison Lee Chronicles. Being a fantasy series, in some ways, the themes are apparent. Allison discovers she is a shape-shifting monster. Eventually, everyone knows she’s different; some people are fans, and others are not. However, I wanted to express these ideas more subtly, too, and that proved a difficult task.

While working on Dragons Walk Among Us, the first novel in the series, I was fortunate enough to read Seraphina by Rachel Hartman and EXO by Fonda Lee. These authors explored themes similar to those I wanted to investigate. Their protagonists were caught between worlds with divided loyalties and experienced feeling like the other due to their heritage and outlooks, and the novels’ antagonists weren’t evil villains. In many ways, the books were as morally gray as George R.R. Martin’s and Joe Abercrombie’s works without being relentlessly grim.

Reading the novels of Hartman and Lee helped me express Allison’s internal struggles of feeling like the other and being trapped between two worlds more subtly than I would have otherwise. I owe these authors and their books a debt of gratitude. They helped open my eyes to how wonderfully imaginative and thoughtful the young adult genre can be.

Conclusion

If I’ve learned anything on my writing journey it’s that your authorial voice can differ from what you expect or want it to be. When I first started writing, I never anticipated ending up as a young adult author. I also didn’t think my travels as a young man to Japan would have a thematic impact on my writing. But it did.

As a writer, I have benefited from being open to new experiences and perspectives and willing to reinterpret old ones. It helped me craft my authorial voice and find success.

Author Bio

Dan Rice pens the young adult urban fantasy series The Allison Lee Chronicles in the wee hours of the morning. The Wrath of Monsters, the third installment in the series, will be out on June 19, 2024.

To discover more about Dan’s writing and keep tabs on his upcoming releases, check out his blog and join his newsletter.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!