I immersed myself in the science fiction "world" for so long that I forgot where I came from. I was drawn back to this by a series of experiences the past few days -- first, reading Lea Honorine Dray's Facebook bio in English and French and realizing that while her family may have steeped her in SF - I did it to my self.
Lea also wrote about her photography not necessarily reflecting the sort of pictures that were truly her, and also writing for others, not herself.
Well, that's not where I'm at, but I think that, as important a literature as the main body of what was thought of as "written science fiction" is, the playing field has changed, and those who were involved in the previous efforts (sci fi of the 70's, 80's and somewhat into the 90's) just do not "see" what a tremendous change it has been. They have no comprehension that the traditional field of print, adult sci fi that gained a certain foothold during those decades, is now stuck in a tiny, depressing market corner, while everything else in the "real world" is actually literal sci fi, to the point that a luddite sci fi book would probably be about the biggest "real" sci fi book written these days. In other words, a book that posed a world where technology was scorned or disused, that portrayed those who used tech as evil and warlike and bad, and where the "good" characters and ideas were those of the pre-tech or post-tech world that eschewed high technology and focused instead on traditional values of honor, love, integrity, community and friendship.
Like, uh, this movie Avatar, whose plot is a duplicate of Disney's Pocahontas. No one is arguing that the film isn't sci fi.
We've entered into a world where an example of how science fiction changed the world isn't the written word as previously practiced or slammed (i.e. Stranger in a Strange Land, Starship Troopers, even 2001: A Space Odyssey), it really is the charming paean to Star Trek's real-world influence as in "How William Shatner Changed the World."
The sci fi world is one in which I can scour the sci-fi reader and fan message boards and find little to no mention of Suzanne Collins' highly-successful (and wonderfully-written) young adult science fiction books, The Hunger Games and its sequels. It's one where an author can buzz by the Book View Cafe blog where I cross-posted my somewhat misinterpreted The Voice That Killed Sci Fi as We Knew It and tell me that Neil Stephenson's Anathem was #1 on the NYT bestseller list (so was Suzanne Collins, for a lot longer) and that my favorite young adult book to malign, Little Brother by Cory Doctorow, sold (not shipped!) SOLD 90,000 copies in hardcover. Yeah, well The Hunger Games sold a lot more than that, and the best it got in Locus was a short review along with several other books. As to Suzanne Collins, her name just kept appearing in lists related to other publications' bestseller or recommended book lists. As to another NY Times bestseller, this time in fantasy, the Wicked series by Nancy Holder and Debbie Viguie, I found no review, and no recent mentions (i.e. no mention of its bestselling status). Oh, you know those fantasy books by gals, written for young girls . . .
We all stopped talking about Locus and its problem a very long, long, long time ago. But what I'm pointing at isn't Locus' ludicrous bias and Mr. Ed blinders. It's the blinders that went over the whole shebang at least ten, and probably more like 15 years ago. I'm a fair person and an honest one, and I'll say right now, it isn't the screaming nerdvoice that killed sci fi, it's the gutting of all of the good editors and publishing houses that were active in the print science fiction genre over the years. It's the fact that the peculiar literary values of in-genre sci fi were never in accordance with the general fictional values of basically everything else that's written and published. Everything that was so "special"? That's what makes it so difficult for those "special" points of view to achieve widespread readership and success. See, The Hunger Games isn't "original". It poses a future that's unlikely to come to pass (Uh, like, uh Canticle for Leibowitz, like those books whose years have passed, like 2001 and 1984, etc.), and the storyline is very reminiscent of such film classics as Deathrace 2000. All the things that sci fi wonks would make fun of if they DID read the book, such as it poses a "Deathrace" type of conflict for its heroine Katniss (a girl, that's one big ol sci fi strike right there - now if it had been a boy named W1nSt0n . . . there I go whaling on Cory again and guess what, it's not his fault!), and the "society" isn't portrayed in enormous, loving, wordbuilding detail with lots of invented words, etc . . . Well, you know, it would probably get the same description from sci fi wonks (who did NOT do so because this one went by them like an Airbus on its way from Paris to Geneva) as the favorite Atheist criticism of The Bible: "it's a poorly-written piece of fiction."
Here are some factoids I've picked up over the years. First, in reviewing a 2007 graduate marketing thesis on the effect of Amazon.com reader reviews on book sales (holy !~!#@@~! - looking to find it again, I found my own damn blog and it wasn't even mentioning this Stanford study), the authors chose to use the cutoff mark for Amazon "bestseller" as 250 reviews. This, they said, reliably translated into a book that had sold at least 100,000 to 150,000 real-world copies. The point of the marketing study was to find any discernable sales effect on books at this sales and ranking level. They looked at books like The Davinci Code and various nonfiction bestsellers at the time. The study did determine that, no matter what type of book, a "bad" review (1 or 2 stars, negative comments) DID serve to slightly depress sales, but that the "bad" review could be countered and the sales depression counteracted by a "good" review being posted after, or above, the "bad" review on the online shopper's screen. This study referred to the "old" Amazon system, of which Harriet Klausner reigned supreme - not the new, different "helpful/unhelpful" system, that also includes comments and discussions.
Be that as it may, any book that has more than 250 reviews is a big book. It has lots of readers and it's one mark of genuine success and audience and sales. And also, by the same token, there is a much higher reader-to-comment ratio for in-genre science fiction and fantasy books, or at least there is a potential for it. Science fiction/fantasy readers are online much more often than "other" readers. They are voluble and enjoy commenting, good and bad. Therefore, a science fiction and fantasy book that had 250 reviews might have sold somewhat fewer "real world" copies than another type of fiction book.
So, let's have a look at some recent titles I've read. The Lovely Bones by Alice Sebold would never be called a "horror" novel, but it does tell the story of a young girl who is dead, and her growth and change in her own personal heaven, looking down on her family and their lives after dies. It has been out a long time, but is still very much in print (with the filmed version in current release). It has 2,932 reviews. Well, ya know, that's not a REAL horror novel - REAL horror is DEAD and nobody can sell it . . . (OK look, it's a first-person narrative of a little girl that was raped and murdered by a serial killer neighbor and her own personal heaven - no, it's not "terrifying" but there are sure suspenseful moments. You know what? Lots of "horror" novels aren't "terrifying" either; lots of classic horror stories are about families and interactions and tragedy and inescapable loss . . .) I guess those "in genre" horror editors who wouldn't even look at a psychological horror story or an afterlife-based story over the past ten years made the right choices, didn't they? I mean, who'd think anybody would read a first-person dead girl story? Nah, nobody, I mean give me a break.
And let's see, here's The Hunger Games vs. Little Brother (which I seriously read in its "free" online version and yes, this free version was not so enjoyable to me and therefore I did not purchase the book). Hunger Games: 768 reviews - Little Brother: 147 reviews. Now, 147 reviews IS a substantial number. For what it was, this was a successful book - in the "inside" group of genre readers and their teens. Teens like the kids my daughter met at BayCon a few years ago, who'd been raised at conventions - teens who were like Lea Honorine Dray said they were, with their household filled with science fiction and fantasy books, magazines, comics, etc. . . I have two students who did buy the book, but who said they didn't finish it. Most telling of all, Amazon always notes that the people who bought Book X also bought 4-5 other books that it helpfully features on the sales page. So, the people who bought The Hunger Games also bought the other two books in the series, and three other young adult science fiction/fantasy/paranormal titles. The people who bought Little Brother bought Makers and Down & Out in the Magic Kingdom by Cory Doctorow, two poetry books by Elizabeth Alexander, the "children's classic" (not) Collected Stories by Tobias Wolff, and No Place to Hide, by Robert O'Harrow, a 2006 nonfiction book examining privacy and individual rights issues in a post-911 world. People who bought that book bought a ton of others related to "privacy" rights and data confidentiality, etc.
This is of interest to the people who voted for "Melancholy Elephants," by Spider Robinson for a 1983 Best Short Story Hugo (yes, it won). And I really can't put what I'm saying more clearly than that. It's one thing to make a movie about a lovable nerd. It's another to think that what interests the UNLOVABLE nerd is something everyone will like. If you don't "get" what I'm saying, read this prescient tale and note from where its conflict derives. Then tell me why that's "better" than the other nominees that year (just in short story - there were some really great monster classics in the other categories that year, both nominees and winners - as in GOOD for real) -
"Sur" by Ursula K. Le Guin (The New Yorker 2/11/82. revised in The Compass Rose)
"Melancholy Elephants" by Spider Robinson (Analog 6/82)
"Spider Rose" by Bruce Sterling (F&SF 8/82)
"The Boy Who Waterskied to Forever" by James Tiptree, Jr.(F&SF 10/82)
"Ike at the Mike" by Howard Waldrop (Omni 6/82)