WANDERLUST Contest--A Very Sweet Prize!

This just in: Ann Aguirre is hosting a contest celebrating WANDERLUST, the second book in her Sirantha Jax series!

Click here to learn more about how you can win $200.00 to spend at your choice of bookseller!

Joyfully yours,

Heather

Love And Politics

During her Writer Guest of Honor Speech at Denvention 3, the masterful Lois McMaster Bujold discussed the challenges of blending SF and Romance (thanks to Sbarret at Tor.com for the link to her Myspace transcript of said speech). Actually, it involved more themes than that, so please take a moment to read it if you haven’t already. Excellent stuff.

Naturally, that inspired this post. Let’s analyze the topic further.

Bujold writes:

In fact, if romances are fantasies of love, and mysteries are fantasies of justice, I would now describe much SF as fantasies of political agency…So the two genres -- Romance and SF -- would seem to be arm-wrestling about the relative importance of the personal and the political.

A reframe of the issue is in order

I nearly titled this post “Love Vs. Politics.” However, I realized that by including the word “versus,” I would be perpetuating the belief that integrating Romance and SF will always be problematic in one fashion or another: Either romance fans will always be alienated by the “political agencies,” or science fiction fans will always be alienated by the “fantasies of love.”

Is SFR doomed to such dissonant plot elements? Of course not! (But you knew I’d swing that way, eh?) Note also Bujold’s choice of the word “seem.” Are the “fantasies of love” and “fantasies of political agency” arm-wrestling—or wrapped in a passionate embrace?

Ms. Bujold goes on to explain how she integrates the two in her work: "My solution for The Sharing Knife was to align the two levels by making the central characters be each a representative of their respective and conflicting cultures."

Sounds like pretty intriguing reading to me. Story structure has much to do with how readers perceive the two elements. Done well, the integration is seamless.

Another reason the political and the romance aren’t necessarily diametrically opposed is that the political plot structure introduces a certain tension for the romance, often just for the reason that the reader must depart the romantic realm for a scene or chapter(s). There are times when the romance can’t advance until the political plot unfolds further.

Then there are stories where the hero or heroine must choose between love and politics, and the future of both the relationship and an entire world could hang on the decision either one makes. These are just a few examples of why SFR works rather than why it doesn’t work.

SFR: A unique breed of readers

Bujold also adds:

The two opposing genres may also be doing different psychological work for their readers. With its YA roots, SF runs heavily to coming-of-age tales, where the principal work at hand is separation from the family and growth to empowerment…but the end-game of those [Romance] tales is one of integration, rather than empowerment as such. The themes of later adulthood generally run to neither empowerment nor integration, but redemption.

Once a person tries a blended genre story and discovers satisfaction instead of disorientation, it’s an indication that a perceptual shift has occurred. This isn’t unique to SFR fans; but it’s unique to readers who actively seek out stories that blend genres (e.g., fantasy romance, SF horror).

Though the psychological underpinnings of SF and Romance may differ, SFR readers seek out the areas where SF & romance intersect and complement one another. For example, Ms. Bujold stated that SF involves “coming-of-age” tales. Part of this particular developmental process involves meeting certain needs, and according to Abraham Maslow’s hierarchy of needs, one of those is love/belonging.

Therefore, many SFR stories target and exploit the falling in love phase of the coming-of-age process.

And how often have we encountered the theme of love being an agent of empowerment? That’s another angle SFR authors exploit, and if we examined our favorite stories, I’m sure we’d find others.

Additionally, science fiction romance readers have a different set of expectations. They expect the political elements and the romance to interface and that this process will happen differently for each story. They don’t require that either element is dominant at all times.

SFR readers expect that when the political hovers the romance will move to the forefront and vice versa. Occasionally the two run a tight parallel, because what happens in the political sphere often impacts the romance. For SFR readers, this shift doesn’t create impatience with the story or cognitive dissonance. In fact, it raises the stakes.

I propose that the “psychological work” of SFR meets the need to explore stories that demonstrate what happens when our need for love and belonging are threatened by external (“political”) forces. So if someone asks you “What is science fiction romance?” you can tell them it’s fantasies of love against all odds.

Reading a well crafted SFR story is like watching an expert juggler

SFR readers embrace the juggling act of these blended genres. Potential SFR readers have a choice as well: They can alter their expectations about fiction categories. They can do this despite (often necessary) limitations that accompany issues like shelving and distribution. Within one’s mind, there is no need to define a book as “only” SF or “only” romance or “only SFR.” A book can be SF with romance and mystery, for example. Many times people read blended genres without being overtly aware that they are.

Another factor that determines how well the genres blend depends on the scope of the story. Trying to tell a sprawling space opera epic plus a deep romance in 300 words might be doing the story—and readers—a disservice. On the other hand, some stories thrive in that word count if the scope reflects a narrower premise. So it behooves SFR authors to tell the right amount of story given word count limitations—or freedoms. (Naturally, books in a series have more flexibility with both story and romance arcs.)

In the end, we can break down these elements until the nanobots come home, but a well crafted science fiction romance story doesn’t even come across as a juggling act—it’s just darn good fiction.

Joyfully yours,

Heather

Tag-Fu

Well I must say, The Book Smugglers are a truly discriminating bunch. Not only do they present thoughtful, in-depth interviews of Romance and Speculative Fiction books, but they’re a pop-culture addict’s dream with all of the fun-tastic features to be found on their site.

Also, they tagged The Galaxy Express. Here are the results.

Copy the list below.

Mark in bold the movie titles for which you read the book.

Italicize the that you’ve watched.

Tag 5 people to perpetuate the meme. (You may of course play along anyway.)

1. Jurassic Park
2. War of the Worlds
3. The Lost World: Jurassic Park
4. I, Robot
5. Contact
6. Congo
7. Cocoon
8. The Stepford Wives
9. The Time Machine
10. Starship Troopers
11. The Hitchhiker’s Guide to the Galaxy
12. K-PAX
13. 2010
14. The Running Man
15. Sphere
16. The Mothman Prophecies
17. Dreamcatcher
18. Blade Runner(Do Androids Dream of Electric Sheep?)
19. Dune
20. The Island of Dr. Moreau
21. Invasion of the Body Snatchers
22. The Iron Giant(The Iron Man)
23. Battlefield Earth
24. The Incredible Shrinking Woman
25. Fire in the Sky
26. Altered States
27. Timeline
28. The Postman
29. Freejack(Immortality, Inc.)
30. Solaris
31. Memoirs of an Invisible Man
32. The Thing(Who Goes There?)
33. The Thirteenth Floor
34. Lifeforce(Space Vampires)
35. Deadly Friend
36. The Puppet Masters
37. 1984
38. A Scanner Darkly
39. Creator
40. Monkey Shines
41. Solo(Weapon)
42. The Handmaid’s Tale
43. Communion
44. Carnosaur
45. From Beyond
46. Nightflyers
47. Watchers
48. Body Snatchers

And I tag...

Lisa (Lisa Paitz Spindler)
Angela (SciFiChick.com)
Frances (Frances Writes)
Laurie (Spacefreighters’ Lounge)
Mftz (Flying Whale Productions)
Natalie (What Time Is It Again?)

And Agent Z, because an Intergalactic Spy is never too busy for fun (you can park your list in the main lounge a.k.a. the comments section)!

Oh, was that seven? *breaks into a Joker grin while rubbing hands together*

Joyfully yours,

Heather

Stand By For Action!

For a "niche market," there sure seems to be an awful lot going on in the SFR universe. Well far be it from me to complain! This week I’ve collected a number of links to keep you busy while The Galaxy Express rumbles toward its next destination.

First, keep your eyes peeled for aspiring SFR author Mftz who operates Flying Whale Productions. There, she dishes on her trip to the 66th World Science Fiction Convention at Denvention 3.

"I Learned About (Writing) Conflict From That" is a recent post at the HEA café by Linnea Sinclair. If you’re an aspiring SFR author, she offers great tips about upping the ante in your writing. If you’re an SFR reader, you’ll learn about what you’re entitled to experience in great fiction. (And speaking of, Ms. Sinclair’s latest release SHADES OF DARK is out this month. Stay tuned for her upcoming Author Supernova right here at The Galaxy Express.)

Also Happening in the Space Lanes:

* Go check out the cover for Susan Grant’s THE WARLORD’S DAUGHTER, posted on her blog. She’d love to hear your feedback.

* RomVets author Sandy Wickersham-McWhorter is the facilitator for Midwestern Dreams on October 18, 2008. It’s the “First Annual Mid-Ohio Writers Association Conference.” Go forth and network, all ye heartland Skiffy Rommers!

* The Galaxy Express extends a hearty congratulations to author Robin D. Owens for scoring a starred review in Library Journal for HEART FATE!

* Paperback writer offers up Ten Things For The SF/Fanatics.

* Author Patti O’Shea discusses her Pre-Book Time.

* Author Colby Hodge updates fans on her recent trip to New York with promises of more to come. (And who’s the mystery “scifi romance writer” Leanna Renee Hibler?! Inquiring minds want to know.)

* Finally, congratulations also to Sandra McDonald for this achievement: “the paperback version of THE OUTBACK STARS is on the Locus Top 10 Bestselling Paperbacks for February and April.”

But, ye dare not click away just yet. There’s more--and what fun it is!



Joseph Mallozzi facilitates a discussion about Lois McMaster Bujold’s CORDELIA’S HONOR. There’s a lot to read including a Q&A with the author. (Thanks to Lisa Paitz Spindler for the link.)

Speaking of Lisa Paitz Spindler, she profiles Captain Cordelia Naismith from CORDELIA’S HONOR in her current Danger Gal Friday feature.

Now’s a fab time to pick up a copy of Michelle Maddox’s COUNTDOWN. It’s a release from Dorchester’s SHOMI line, out this month. (Didn’t I say it was a fab time?!)



More congratulations are in order! Jordan Summers nabbed a positive review for her upcoming RED. She also posted an update from RWA that all of you aspiring SFR writers won’t want to miss.

Have some SFR news of your own? Post it in the comments section!

Joyfully yours,

Heather

“QUIS CUSTODIET IPSOS CUSTODES,” Part III

Don Markstein of Toonopedia wrote that, “What The Maltese Falcon did for detective stories and Shane did for Westerns, Watchmen did for superheroes. It transcended its origins in what was previously considered a lowbrow form of fiction” [emphasis mine].

So how can a graphic novel tale—both the story and the cultural zeitgeist surrounding it—help the romance genre?

Part of the answer depends on how long people assume that romance is simply a way for women to enjoy guilt-free sex. Another part depends on how long marketing departments will rely on overtly sexy or “man titty” covers to sell books. The “sex sells” mentality is a daunting challenge to overcome. On one level, it works for some people; on another, it cheapens the genre and keeps potential fans away.

This is the problem romance faces now—one Comics confronted years ago. Rightly or wrongly, the industry as a whole has a bad rap. This public perception must change. By keeping the genre so inclusive, the industry is purposefully excluding everyone else. And that’s fewer fans, and millions of dollars pushed away every day.

People who crave respectability for the romance genre—readers, authors, and publishers—have to be willing to take risks and expand their horizons. Some already do, of course—I’m referring to the higher risk that means greenlighting projects on the scale of WATCHMEN.

So what can be done to overcome this? I have a few ideas:

* Diversify. Editors/publishers need to widen their parameters to what’s possible. Take more chances on romances with plots external to the relationship itself. Done well, many readers would welcome the change, so don’t underestimate your audience, either. They can always return to their romance “comfort” reads (the equivalent of SUPERMAN in comic books, for instance). Additionally, market these books outside of the usual venues.

* Get more serious about worldbuilding, particularly for SF/F romance. Invent something new in addition to building the relationship.

* Increase the word count once in a while. Sweeping stories like WATCHMEN can’t be crammed into a 298 or even a 320 page book. Readers coming from the SFF aisle won’t blink an eyelash at a book that runs upwards of 400 pages.

* WATCHMEN turned the entire genre of superheroes on its head. In this world, superheroes aren’t always nice. In fact, some of them are vicious anti-heroes. Most don’t even possess typical superpowers. WATCHMEN changed everything that people thought they knew about graphic novels.

What might be the counterpart for romance? It could be anything, really. That’s the one factor no one can predict. But the only way to avoid a reputation for cookie-cutter stories is to break a few molds.

Perhaps romances don’t always have to be super-ultra romantic. Maybe it’s time to shed that soft-focus effect for some stories. Regarding SF/F romances, they lend themselves nicely to gritty, edgy, or political storylines & elements. But that’s not to say that it couldn’t happen in other genres (and has already, in the case of romantic suspense).

* Give authors more creative freedom. Yes, Alan Moore’s situation was unique in that he had the freedom to write pretty much whatever he wanted (within reason) in SWAMP THING because DC felt the title had two swampy feet and one hand in the grave. From the company’s standpoint, they didn’t have much to lose.

Romance publishers, however, should act as though they *do* have readers/profits to lose if authors don’t feel as though they can journey into uncharted creative territory. After all, if your best authors leave out of frustration, who does that leave in the fold? (And please don’t tighten your belts by letting go editors with vision, either.)

* Publish more stories that make readers, regardless of gender, crave the heroines just as much as they crave heroes. In other words, beef up the heroine’s role. Or, consider more books without the ubiquitous Alpha-male. He’s the superhero in the cape (i.e., the bread and butter for your targeted audience, but expanding your horizons brings in more readers).

* Evaluate whether the reputation problem is the “bodice ripper” as a marketing issue or story issue. If it’s a marketing obstacle, don’t wait for someone else to define what you’re reading. Come up with a more appropriate, less derogatory tag line and start sowing the seeds. Repeat it relentlessly both online and through word of mouth.

If it’s a story issue as in there really are a bunch of bodice’s being ripped, then proceed as if it were just a marketing issue (see above). If you enjoy the bodice-ripper reputation, power to you. Flaunt it. But if the majority feels otherwise, then take charge. The loyalty of romance readers is its own built-in PR machine.

* Be prepared to wait. WATCHMEN may have been groundbreaking but that’s looking back 23 years after its release. Altering cultural perceptions takes a long time.

These ideas are just some of the possibilities. You may think of others and I hope you will. The main goal here is to keep the dialogue going. So what do you think?

Can romance ever transcend its tawdry “bodice ripper” reputation ever present in the general public's mind? We can’t deny it’s there for many. It is. (And declaring everyone who believes this to be ignorant isn’t going to gain desired respectability, either.)

So where’s our “WATCHMEN”? What kind of book will change the way everyone thinks about romances? Is the industry simply content to rest on its paperback laurels and enjoy the sales it has now, ignoring other readers? How badly do romance readers, authors and publishers want respect for the genre? (Unfortunately, the answer so far has been not badly enough.)

On the other hand, to end on a positive note, perhaps events will conspire toward a groundbreaking romance book(s) that will help shepherd a positive cultural perception shift toward romances as a whole. What thinkest thou?

Joyfully yours,

Heather