Taking Care When Biting the Bear

Some days you might bite the bear…
But take care or the bear may bite you…

Bear Eating

It has often been said, and rightly so, that there is little value in an author complaining about what others say about their work. No matter how wrong-headed an author might think such opinions, in the normal course of events complaining about them rarely does the author much good. The problem for any author who feels slighted is that we all form opinions about everything we experience and few of us will happily accept being told our opinions are worthless. Thus when an author uses the argument ‘that X did not understand what I was trying to do’ most of us feel our hackles raise in empathy with the critic.

To argue about anything but clear errors of fact (as Jack Vance once did in response to James Blish) is risky business for this very reason.

Now, true as this might be there remain lines best not crossed. None of us can afford to pontificate in a thoughtless manner if we value our hides. If pride goeth before a fall then such arrogance goeth before a public stoning.

Even offering up an ill-conceived but otherwise relatively harmless review can be especially fraught with danger. No author cares to sit still and be told their work is flawed if the party doing so cannot present a well thought out explanation as to why this is so. Consider the following review written by somebody hiding behind the childishly rude pseudonym of K.U.F. Widderershins (really, only a young teen would think that name clever). Harmless as this well meaning but exceptionally clumsy review is it’s hard to fault the author in question, a notoriously touchy individual as it happens, for making reply. The initial review appeared in Australian Science Fiction Review #5, (published by John Bangsund in December 1966):

Perhaps the most impressive thing about the revamped Impulse* is Keith Robert’s series of stories set in an alternative England. Admittedly, apart from the first issue of the magazine, they have appeared in lacklustre company, but even by themselves the Pavane stories are pleasant reading.

The stories would never have been published in Unknown. The trouble is that although Roberts has gone a long way to construct a believable England, he hasn’t quite reached the standard of logical necessity which Campbell, for example, would have required. Although the author says that the Church has good reasons for suppressing inventions, none of these reasons emerges from the stories. Accepting this fault, however, we can investigate what Roberts has to say.

Pavane itself simply reveals something about the world Roberts dreams of. The Guild of Signallers is a good idea, but one obviously worth expansion to novel length, as perhaps are many other ideas in this series. For no apparent reason, Roberts uses a flashback technique which only serves to confuse the reader slightly. The end of the story is not at all clearly resolved, with two entirely contradictory endings appearing consecutively. Doubtless this has something to do with the unexplained ‘people’.

The other stories – The Lady Anne, Brother John, Lords and Ladies and Corfe Gate – deal with an episode in the history of Robert’s England. They cover a couple of generations, and each of them suffers the fault of appearing to be truncated; for each the resolution is unsatisfactory. It is as though the author himself didn’t really want to finish off the story. Sometimes, as in the case of the original ‘Anne,’ the character is removed in a subsequent story in a way entirely at odds with the character’s previous behaviour. This makes the overall impression rather unsatisfactory, too.

The last story, Corfe Gate, is obviously intended by Roberts to be the best, with characters overflowing with life and reality.

As the series now stands, many questions are unanswered: who are the ‘people’? is Brother John the same man as Sir John the seneschal? (and if not, why not?) We may never discover now the secrets of Cordwainer Smith’s world, but let us hope that Keith Roberts will reveal, in time, just what makes his delightful world tick.

As you can see this is a review which was meant to be a positive one, but with certain reservations. Trouble is the various comments Widdershins offers are too little fleshed out to be useful or even to always make much sense. Widdershins repeatedly commits the sin he accuses Roberts of in that each of his points is truncated to the point of being unsatisfactory. For example Widdershins write that the Guild of Signallers is an idea that deserves a novel-length treatment. Which would be all well and good except he doesn’t go on to explain why he thinks that or if this means Roberts failed to use this idea properly. So Widdershins’ comment feels like nothing more than a random musing left hanging. All in all this review reads like some semi-coherent notes which Widdershins had made in order that he might write a proper review at some future date.

It is hardly surprising then that an acerbic reply appeared in Australian Science Fiction Review #9, (published by John Bangsund in April 1967). Before reading the following letter from Keith Roberts I suggest you put on some sarcasm proof goggles:

I’d like to take this opportunity of thanking you for sending me the various copies of ASFR in which my work has been discussed; I’ve found them informative and excellently produced and thoroughly enjoyed reading them through. BUT, I feel I’ve just got to take exception to the Widdershins report, or review, or whatever he calls it, of Pavane in issue five.

Whoever is lurking behind that noxious pseudonym really should have his head immersed in a vat of treacle, or sheepdip, or whatever bizarre fluid comes most readily to hand Down There. I’ve read bad reports of my work and I’ve read downright vindictive ones but I’ve never come across such an absolute masterpiece of misunderstanding; I’m well aware that widdershins traditionally go backwards but this is really too much. I’ll stress I’m in no way miffed, the thing’s too daft to be taken seriously, but I would like to straighten the poor confused chap out just a bit.

Taking his points in the in the excitingly random order in which he presents them, I’ve said quite clearly at umpteen places in the book just why my postulated Church behaves the way it does. I could I suppose arrange some critic’s copies where a little light comes on or a bell rings when the reader gets to the Author’s Message, but I this might be going a little far. The novel has a post-nuclear setting, embodies the elderly notion of repeating time-cycles, and poses the even more hoary question of the validity of scientific progress; see Brave New World, &c &c &c. Maybe it would have helped Maybe it would have helped Mr. Widdleskin if I’d hyphenated some of the longer words. I’m sorry the stories wouldn’t have been good enough for Unknown, whatever that is, but as I didn’t write them for it I’m not as distressed as I otherwise might be. As a matter of fact I don’t think the quarterly journal of the Ear, Nose and Throat Practitioners of Kuala Lumpur would have gone much of a bundle on them either.

However Mr. Ditherspin successfully confuses the whole issue, with I must admit great skill and economy, before moving on to What I Have To Say. (Armed, one imagines, with deerstalker, calabash and king size magnifying glass.) His first conclusion emerges with lightning-like rapidity; The Signaller is not a novel. This would seem to be a fatal flaw. It could, he growls, have been Expanded. Well, I’m sorry; but sometimes I write novels, sometimes short stories. Authors do that sort of thing. This is exactly the type of critical remark that drives one to a clucking fury; if Mr. Withershin had devised an apparatus for, say, polishing the outer husks of Bomongo nuts, he would be quite justified in losing his temper if I turned around and pointed out that it wouldn’t whitewash pigruns. Signaller was devised as a short story, part of an interlocking set; I never wanted it to be a novel, it never will be a novel; can’t he be more constructive than to pick at it for the thousand and one things it isn’t? He also becomes disturbed at my use of flashback; this, I learn, leaves the reader slightly confused. While manfully repressing the suspicion that Mr. Diddleshin started out just slightly confused, I would still like to know how in the name of ten thousand devils can a death-dream, which is what the whole thing is, flash in any other direction but backwards? If he would lay out for me, in detail, the more logical and polished treatment he no doubt has in mind, I promise to study it with fascination.

To cap it all I discover the story is not after all clearly resolved, with “two entirely contradictory endings appearing consecutively.” Here is the one point at which I rally could emit short bursts of steam from the ears. Does Mr. Hitherthin actually imagine I was so vapid and so totally idle as to be unable to finish the piece? That I – and my editor – simply stuck on a pair of likely ends and left the reader to choose for himself? Did it not cross his mind, even briefly, that he might have missed out somewhere, that he hadn’t in fact understood the first damn thing about the story? The rest of his remarks merely verge on the cretinous; that crack is downright bloody impertinence. He has of course shown himself unable to grasp the central point of The Signaller at all, though I would have thought it was crystal clear; I don’t frankly see how I could have underlined more firmly the parallel between the death of the god and the half-sacrificial death of the boy. Possibly he has never heard of the Baldur myth; that’s fair enough, but I did put down a full version within the story to sort of help him along. Maybe he missed that bit. I would suggest a short course in comparative mythology, kicking off with the Epic of Gilgamesh, working through Venus and Adonis, &c &c, and not missing out on Christ. It wouldn’t take more than three or four years.

And the rest of the stories were unsatisfactorily truncated because I’d got fed up with them. Well, I just couldn’t have realized how bored I was when I was working on them; funny how one can never appreciate one’s own state of mind. I thought I was enjoying myself. And, oh dear, I never did get around to explaining about the People. That’s just my whole trouble, Mr. Sniddlepin; always leaving nuts and bolts off things. But didn’t you ever believe in fairies? Not even when you were a little moron? What a horrid dull life you must have had, I’m so sorry. I’m afraid you sound a bit like a chap I once knew who sent Picasso a ruler and compasses so he could get his lines straighter. And though I’m really pleased you find my little world delightful I’m not going to tell you what makes it tick, I positively decline. You’ll just have to sit out somewhere with an icepack and a nice cool drink and fret about it. I will give you one tiny clue though, since you were really quite nice and jolly about everything. Brother John isn’t the same as Sir John the seneschal.

Why the blue hell would he be, you nit!

Yes, I will admit that Mr Roberts overreacted, his letter clearly reads as more annoyed than he initially claimed to be (or perhaps he found putting the boot into Widdershins too much fun to hold back) and went on at far more length than the review deserved. (“Oh, you don’t say. Thank you for pointing that out,” reply the more sarcastic readers.) However, because the review in question is so frustrating incomplete the normally self-defeating argument ‘that Widdershins did not understand what I was trying to do’ made by Roberts fails to raise reader hackles for once. I imagine most bystanders would be content to stand back and watch Widdeshins being mauled.

However there are worse sins than merely writing a clumsily and carelessly worded review, much worse. Let’s consider the case of James Blish, writing as William Atheling Jr., in Sky Hook #16, (published by Redd Boggs in the winter of 1952/53). In an installment of his column which appeared in that issue Blish commented on (among other things) an Isaac Asimov novel which had just been serialised in Astounding:

The conclusion of The Currents of Space leaves us with another reasonable but dull Asimov novel on our hands, the three installments of which coincided with the three months under review here.

Blish then spent the rest of that paragraph explaining that while The Currents of Space was a very solid novel he, and unnamed others, still felt let down at the end. Naturally Blish has a theory as to why this should be so:

The main reason is stylistic. Asimov is a highly circumstantial writer, sharing with Heinlein and Norman L. Knight the ability to visualise his imagined world in great detail, so that it seems lived-in and perfectly believable. He does not, however, share Heinlein’s lightness of touch; instead, he more greatly resembles Knight in writing everything with considerable weight and solidarity, turning each sentence into a proposition, a sort of lawyer’s prose which is clear without at any time becoming pellucid.

This kind of style is perfectly suited for a story which is primarily reflective in character, such as Asimov’s recent robot yarns. It is also just what is required for a story in which history is the hero and the fate of empires is under debate. What Asimov has been writing lately, however, beginning with Tyrann**, has been the action story, to which he seems to have turned more or less at random after his long Foundation project reached its culmination. And the action story cannot be written in that kind of style. Why? Because a style that ponderous, that portentous, constantly promises to the reader much more than even the most complex action story can deliver. The tone of The Currents of Space justified any reader in expecting that in the last installment Asimov would at the very least rend the heavens in twain. The plot provided no such encouragement, but the style did. Instead, Asimov blew up one sun under circumstances which could hurt no one but one man who wanted to die, and we are left wondering why this very workmanlike novel “somehow” didn’t satisfy us, why it “let down at the end.”

Now while I don’t agree with James Blish as to why The Currents of Space is a rather dull novel (and I have to wonder just what he meant by calling Asimov a ‘circumstantial writer‘), I can’t fault him for expressing the opinions quoted above. Describing The Currents of Space as ‘dull‘ may seem harsh but whether you agree with such an assessment or not Blish does go on to defend his assessment without getting personal. Reading these comments may be a bitter pill to swallow if you happen to be called Isaac Asimov but nobody could say that Blish has been dishonest in regards to what he wrote.

So far, so good but then in a subsequent installment of the William Atheling column (which appeared in Skyhook #20, Winter 1953/54) Asimov receives another mention, but not in regards to a newly published story. While writing about a Randall Garrett parody of the executioner’s song from The Mikado that had appeared in the November 1953 issue of F&SF Blish has this to say about Isaac:

Garrett can, of course, do absolutely nothing for about writers like Asimov, who are (1) too likely to bleed at the slightest harsh word to profit by any sort of criticism, and who are (2) still being solicited by editors to carry on their series projects, even in the face of the evidence that the readers have had enough, and even that the writers have had enough, too…  My point #1 was intended to apply primarily to Isaac, who is one of the two or three most easily hurt people in our universe; why, I couldn’t say, but there’s good evidence for it.

While I find Blish’s second point a contentious claim it’s obviously the first one that concerns me here. Regardless of whatever he knows about Asimov, or believes he knows, to make such a claim without presenting supporting evidence to back it up is at the very least both reckless and tactless. Even with clear evidence personal attacks such as this rarely reflect well upon the accuser, so to make such an accusation and back it up with no more than a claim that good evidence exists, but then not present any of it, is little more than cutting one’s own throat.

Of course the wisest response to such calumny is none at all but if the victim must reply it’s best to seize the moral high ground. Something which Asimov, with the support of Anthony Boucher, does to excellent effect. Let’s see how these two gentlemen respond to the Atheling accusation of literary haemophilia.

First Boucher:

I must protest Atheling’s description of Isaac Asimov as “too likely to bleed at the slightest harsh word of criticism…one of the two or three most easily hurt people in our universe.” As a professional reviewer I know the type described, and have a by no means little list of people with whom my personal relations will vary according to the tone of my last review. Asimov is emphatically not among them. I have disliked a number of Isaac’s books in front of (according to the latest ABC figures) 585,725 people, and carried on a perfectly friendly correspondence with the author all the while. I have personally ribbed him about infelicities and received good-humored replies; as an editor I’ve torn a story to shreds and got back a long and sincere thank-you letter. Conceivably Asimov may have displayed irritation at some imperceptive remark of Atheling’s; this, after all, could happen to anybody. But in my own records he goes down as an unusually well-balanced and tolerant professional.

Then Asimov:

I feel sadly moved to answer William Atheling’s statement that Asimov is “too likely to bleed at the slightest harsh word of criticism” and that Asimov is “one of the two or three most easily hurt people in our universe.” I say “sadly” because it seems obvious that argument with Atheling is a losing proposition.

Concerning Randy Garrett’s satire “I’ve Got a Little List” which criticises me, among others, and which Atheling fears can do nothing for me because of my objections to criticism – may I say that when I toastmastered the Philcon on Labor Day eve 1953 I referred to that very poem with great approval, and sang it in full, as well. Several hundred people were there and will bear witness, I have no doubt, that I did not bleed.

As for criticism in general: Mr Atheling’s criticisms are pretty small beer, after all. Now I’ve had comments from gentlemen like Campbell, Gold, and Boucher-McComas, whose barest word of criticism sometimes means the loss of a thousand dollars because it comes in the form of a rejection. I hereby, with the greatest of respect, offer these gentlemen as character references. I will rest my case, sound unheard, on what they have to say concerning my attitude toward criticism. I understand that Mr Boucher has already, of his own unsolicited free will, seen fit to make comments in this matter.

Then why do I bother to answer Mr Atheling if I am not sensitive? Oh, but I am sensitive. Not to literary criticism, to be sure, but to personal criticism on the part of people who do not know me and can scarcely form proper judgements.

Blish is lucky this all happened before the Internet. If such an exchange occurred today I’ve no doubt there would be an impressive dog-pile and I suspect that most of those piling on would be on the side of Asimov.

Call a novel bad and you will certainly get an argument, but unless your opponents are dishonest in their views (and I will grant that such types are hardly uncommon) they will concede that you have a right to your opinion, no matter how wrong-headed they may think it is. Make your comments personal on the other hand and soon enough every hand will be raised against you (well unless you have acolytes willing to defend any and all of your pronouncements, and again I will grant that such are common enough) because any honest third-party will recognise that making personal attacks is hardly playing on a level field. If I were to besmirch the good name of George R.R. Martin by describing him as a theodolite, a coelacanth, a kakemono you would be entirely justified in thinking less of me for making such claims. For how can you know if the inestimable Mr Martin is really any of these things, or if I know the gentleman well enough to make such claims? Simply put, you don’t, and will rightly resent being asked to accept such claims without good and adequate proof. So even if I truly believed George R.R. Martin to be a theodolite, a coelacanth, a kakemono it would be unfair of me to bring such claims into a review of his work. (For the record, I do not think George R.R. Martin is any of these things. Furthermore I will admit to being myself, a coelacanth. However I doubt this will much surprise anybody already familiar with my writings here.)

However, such suicidal behaviour need not be confined to personal criticism. Sometimes honesty isn’t the best policy, especially if it means being honest about practises that are difficult to defend. In Cry #184, (published in the mid-September, 1969 by Vera Heminger, Elinor Busby, and Wally Weber) there appears a report on the 1969 worldcon, the St Louiscon penned by Wally Weber himself. At one point Webber described a Saturday afternoon panel on editing that took a wrong turn:

The conversation was drifting towards prose anyway, so a new panel convened consisting of Lester del Rey (who moderated immoderately), Terry Carr, George Ernsberger, Don Benson, Ejler Jakobsson and Ed Ferman. Both the panel and audience behaved very well until the subject of how much rewriting an editor should be allowed to do on another person’s story. The editors suddenly became politicians, mumbling about “improvements” and cleaning up minor errors in grammar and spelling, and “suggesting” changes to authors. Then Lester made the unfortunate admission that while an editor should never rewrite, he must often shorten or lengthen a story to fit the number of pages the story must fill in a magazine’s format. He referred to a 10,000 word story he had lengthened to 15,000 words for this purpose. From the audience came a bone-chilling moan previously never heard outside the torture pits of hell. That terrible sound had come from Bob Silverberg and it set the mood for what may become known as Lester’s Last Stand.

I have seen Lester in many debates, but never have I seen him fall apart and be so mercilessly inundated with abuse. Authors rose from their seats and shook their fists and screamed through their beards. Lester’s pleas about what must be done in the line of duty and how writing in another author’s style is the most difficult work in the universe only increased the new waves of hatred focused upon him. I suspect that he was even being attacked by the author within himself. Even Harlan, who you must admit has listened to some pretty awful things and believed them, said, “I hear all this in disbelief and horror.”

This was madness.

Most jobs have a downside. Usually it’s merely a matter of soul-destroying tedium but sometimes it involves unsavoury practices best not talked about. Nobody wants to hear about these unsavoury practices. How many lovers of bacon want to dwell on where their sliced pig comes from? Or even that it involves pigs being sliced up? Of course not, most people don’t want to hear about the nasty stuff, even if not knowing is to their detriment.

I suspect most of the stories Lester del Rey was slicing up as per editorial need were by unpublished authors, innocents so thrilled to receive a cheque in return for their work that it never occurred to them to closely examine the published story. And even if they did and noticed that their work had been altered they were unable to do much about it other than send Lester a letter of condemnation rather than any further manuscripts. A gesture unlikely to bother a thick-skinned editor like Lester del Rey.

Unsavoury as this practise is, given the magazines Lester had been editing I doubt he had much choice but to do as he did due to the twin problems of limited budget and a set number of pages to fill. I don’t want to absolve him of all blame but I do want to make the point that if he felt he had no choice but to do this then common sense surely dictated that he do it as little as possible and be very discrete when he did.

If your job involves practices that other people might not look upon favourably then surely it’s obvious that you not tell them about them. For an editor like Lester del Rey to reveal his worst professional sins to a crowded room full of published and would-be authors makes no sense whatever. Lester didn’t just invite the bears to have a nibble, he lathered himself with honey and tried to crawl between every set of jaws that he could find.

Sheer. Utter. Madness.

In conclusion, while there may be little value in an author complaining about what others say about their work, that doesn’t mean the rest of us can write as we like. We do not perpetually hold the high moral ground. Poke the bear too hard my friend and you’re on your own.

* Impulse was a science fiction magazine published as a companion to New Worlds.

** Later retitled as The Stars Like Dust.

 

John Brunner – The Writer In Black

Perfect freedom is reserved for the man who lives by his own work,
and in that work does what he wants to do.

I think it was in an installment of his Noise Level column that John Brunner made the claim that when science fiction authors got together they mostly talked about money. Now I’m not about to disagree with a statement like that given Brunner wrote science fiction for a living and was certainly in a position to know what his fellow authors said and did. Even so I do have to wonder if his views were biased by his own preoccupations. He certainly did write about the financial aspects of being a published author more than any other SF professional I’m familiar with.

I suspect this obsession with financial success was in large part due to his origins. The Brunner family started a company called Brunner Mond way back in 1873 (this company later on merged with a number of others to form ICI) so they were reasonably well-to-do, though perhaps not as well off as they had been by the time our Brunner was born in 1934. There are claims that despite the family having money none of it was passed on down to John Brunner once his school fees had been paid. Why this might be so I can’t say for certain though it’s possible the family disliked his lifestyle and/or politics. John Brunner was quite left-wing in many of his views, in particular he was quite anti-nuclear and vehemently opposed the war in Vietnam, opinions which might not have sat well with people who earned their living from a chemical company like Brunner Mond. It’s also possible that Brunner preferred to not receive what he may have perceived as ‘dirty’ money and became obsessed with achieving financial success without relying on his family.

Regardless of why he felt the need to do so I’m pleased he wrote about the financial side of the writing business as much as he did because the nuts and bolts of the trade fascinate me and I love reading descriptions of how the system once worked by those on the inside. As I assume I’m not the only one interested in such things I’ve reprinted one of the best examples of Brunner’s behind the scenes coverage here. It originally appeared in Australian Science Fiction Review #9 (published by John Bangsund way back in April 1967). It was a slightly updated version of an article that had already been published in Vector, the official journal of the British SF Association, a year or so before (just how much had been changed I can’t say as I don’t happen to own a copy of the relevant issue of Vector). To put this article into context I need to point out that Brunner’s professional career up until the writing of this article essentially fitted into what I like to think of as the transitory period of SF publishing.

This transitory period in SF publishing occurred when it became possible for an author to make appreciable amounts of money from magazine, paperback, and hardcover sales. Up until the end of WWII very few writers of science fiction were able to sell their stories to any market other than the magazines. Hardcover books were limited to the likes of Verne, Wells, and Burroughs until the rise of specialty hardcover houses such as Gnome Press, Prime Press, and Shasta Publishers in the late forties. Paperback science fiction didn’t become a force until well into the fifties at which point the amount of SF in softcover rose dramatically. This ushered in the transitory period during which SF authors could make a living by a careful combination of magazine, paperback, and hardcover sales. However the rise of the paperback corresponded with the decline of the fiction magazine and by the end of the seventies there were too few SF magazines left for sales to this market to be a significant portion of the average author’s income. During the period Brunner is writing about both authors and publishers were still feeling their way towards their part in the later paperback dominance of the industry.

To give everybody at least some idea of what all those sums Brunner quotes in the later part of his article might mean in current terms I’ve included estimates of what the money equivalent would be fifty years later (all figures are either in UK pounds or US dollars). Hopefully that will give you some idea of how well off the average author was back then. On the other hand I wouldn’t try to strain for a comparison with current conditions given how different the publishing industry is in this world of tomorrow. For example making those sort of comparisons won’t mean much in in relation to the earnings of anybody trying to make it as a self-published author.

I also like to reiterate Brunner’s comment about taking care when basing generalisations on this article. A lot of the minor details, such as a wife as who doesn’t want to go back to working or an author getting into a tangle with customs over the value of a manuscript, are clearly lifted from John Brunner’s own life (though, that said, I do recall another British author who mislabelled one of the manuscripts he mailed to the US and ended up in a ‘situation’ due to this). On the other hand the two Frishblitz children are complete fabrications as nothing I know about John Brunner suggests to me that he ever had, wanted, or liked children.

Given the length of this article and the many interesting details Brunner included I’ve interrupted him in a number of places to add some extra detail, or my own reactions to certain of his claims. Hopefully you’ll find these additions worth the interruption.

And now on with the show:

The Economics of SF
by John Brunner

“In an earlier instance the Meredith agency did sell the picture rights to a book then unwritten. That one, Evan Hunter’s Mothers & Daughters, has now been completed, and German rights have just gone to Kindler Verlag, in a deal closed with their representative here, Maximilian Becker, for a record $17,000 advance. Also, Corgi have just acquired British paperback rights on a £15,000 advance.”

Daniel J. Boorstin: The Image, p. 158)

It so happens that I’m represented by the Scott Meredith Agency which pulled this trick. Every now and again I feel tempted to photostat that excerpt and send it to Joe Elder, who handles my work, with a terse note asking what Evan Hunter has that I haven’t (apart from $17,000 and £15,000).

It’s small wonder that most people have an entirely false impression of what authors make, and this impression is distorted even further when one comes down to SF, a thoroughly anomalous field in other aspects than its content.

Let’s start by getting some of our perspectives straight. First, as to writers and their incomes in general: the British Society of Authors is conducting a survey at present which will clear up many misunderstandings when the findings are made public. Consider, meantime, that a reliable source (the Bulletin of the Authors Guild of America) has published an estimate that there are 250 full-time writers in the whole of the United States.

I’ll repeat that: 250. Out of a population approaching two hundred million. The remainder are at least partly supported by such jobs as magazine editing, reporting, permanent feature assignments involving non-writing activity, or hold down a professional post to which their writing is secondary. (Advertising is one of the current havens; it’s a bit like the jazz greats of the thirties who kept joining and leaving the Ted Lewis band.)

A young writer recently received tremendous acclaim from the British press. I’ve read the book he got it for, and allowing for slight exaggeration I think the praise was merited. I’ve lent my copy to somebody so I can only quote a sample from memory: “I doubt,” said one critic, “if there are half a dozen people who can match” Mr. X’s prose. He made the headlines recently when a publisher offered to pay him what amounts to a salary for the next two years, on condition they are given a couple of books they can publish. Amount of that “salary”? £800 (£13,803 in 2017). And he was probably glad to get it. Brother! Given a reasonable amount of overtime, he could probably collect more working on a building site!

Now the generous publisher isn’t buying his entire thinking time, of course. But he’s buying the cream of Mr. X’s output, and if Mr. X is halfway honest he’ll be turning down supplementary earnings which would infringe on the thinking time needed to create books reflecting his true abilities. Many – perhaps most – writers never stop working; everything they do from breakfast to bedtime, everything they read from advertisements to poetry, everything they see or hear or smell or touch or taste gets mortared into the foundations for their subsequent output. Isaac Asimov wasn’t joking when he said writing has the characteristics of an addictive drug. Once you’re hooked on it properly, your life revolves around it in the same way a junkie’s revolves around his next fix. It can be physically unpleasant to be deprived of the opportunity to write. (Believe me.)

What of the writer who , by misfortune, has a temperament inclining him towards SF? Well… I’m one, and a very atypical one, so most of the following remarks must be read as applying to me personally and generalizations should be made there from very tentatively indeed. Nonetheless, I feel they may be of interest as a kind of case-history cum guided tour of a thorny question.

Cardinal fact: SF is a minority taste, to the extent that hitherto one has been able to say it’s read by one person in every thousand of the English-speaking population. (I refer to habituated readers, and not to those who are exposed to an occasional freak best-seller serialised in the Saturday Evening Post.) For instance, I recall seeing Astounding’s public estimate at some 185,000 in a country of about as many million: similarly, the Atlas reprint edition used to sell about 45,000 in Britain.

There is a slow upward trend in these figures at present, due to such causes as the adoption of SF by “respectable” houses like Penguin and the discovery by literate readers that there are literate writers in the field. The impact of this has not yet been sufficient to alter much of the SF writer’s life. We will assign Arthur Clarke, John Wyndham, John Christopher and some few others to the stratospheric altitudes of the movie world (every writer dreams of selling film rights on every book he produces), and concentrate on the somewhat more mundane levels where the majority of the writers who appear in your Favourite Magazines float around.

(Doctor Strangemind: This article was originally written with a British audience in mind so it’s hardly surprising that he only mentioned British authors in this list. It’s also likely that Brunner didn’t want to include any US authors on the not unreasonable basis that he didn’t know enough to do more than guess at who might be earning enough to be added to his list. Even today, with all the advantages of 20/20 hindsight, I’d be hard pressed to name any US authors apart from perhaps Robert Heinlein and Isaac Asimov as doing that well back in the early sixties.)

As pointed out, there is a three-to-one difference in the size of the audience for SF when you compare Britain and the USA. It’s reflected fairly accurately in the rates paid. To try to make a decent living by selling nothing but SF in Britain would be impossible. (John Lymington appears to have found a sort of solution to this, but I have no information regarding other earnings he may have.)

Example: Gollancz’s basic advance on a hardcover edition – to which royalties will be added after a very long lapse of time – is £100 (£1,725 in 2017). I received that for both The Brink, in 1959, and No Future In It, in 1962. Ace, not the largest or most prosperous of American paperback firms, would put down $1,000 ($7,186 in 2017) for the same manuscript, or about £350 (£6,037 in 2017). As to magazines, I recall how pleased I was when Ted Carnell gave me a bonus on a story he published by raising my rate from two guineas to £2.5.0 per thousand words. Near as dammit, two guineas is $6 ($43 in 2017). As far as I know the lowest rate paid in recent years by am American SF magazine has been that from Fantastic at 1.5 cents per word – i.e. $15 per thousand ($108 in 2017), or 2½ times as much.

The highest rate is Analog‘s 4 cents a word, plus a cent a word bonus for topping the An Lab, or half a cent for coming second. The less pretentious of the men’s magazines go no lower than a nickel a word – a cent higher that the best offered by an SF magazine in other words.

It’s a minor miracle that there are so many writers in the SF field, isn’t it?

There are basically two ways in which you can keep afloat in SF without resorting to devious expedients like writing continuity for a comic strip (e.g. Jack Williamson for Beyond Mars, Harry Harrison and heaven knows who else for Flash Gordon) or beating your brains out on a TV serial (a common disaster among American SF writers, I gather, but not so popular in Britain).

The first is to get out of the United States, if that’s where you happen to be, and settle in some country where a phony exchange rate stretches your dollar earnings. I live in Britain but almost exactly 90% of my income is from America.

The second is to be prolific as possible, and that’s a matter of temperament. I’m lucky; I have a very high rate of output because I actually enjoy the physical process of writing, and get unhappy when I’m kept away from my typewriter. I’ve been writing about eight books a year lately, and banking on selling six of them to get me a decent living. But I cant keep that up forever; I was just about at the end of my tether when I started getting serializations in American magazines – something I’d previously failed to secure – and was able to contemplate reducing my schedule because of the extra income thus obtained from the same investment of effort.

(Doctor Strangemind: I do wish Brunner had been clearer in his description at this point because one possible interpretation of his comment about writing eight books each year and selling six is that he was failing to sell 25% of the novels he completed. Surely after a year or two of frenetic production which results in only a 75% success rate an astute author learns to recognise what is likely to sell and what is likely to be passed over? Surely by year three a reasonably astute author can spot unsaleable product in its formative stage and not proceed. Surely?

Anyway, checking the listings for John Brunner on the  The Internet Speculative Fiction Database doesn’t shed much light on the matter either. According to the listings there the Brunner SF novels published prior to the writing of this article amounted to the following:

1959 – 3into the slave nebula lancer 1968
1960 – 4
1961 – 2
1962 – 2
1963 – 6
1964 – 2
1965 – 6

Clearly this is well short of the 8 Brunner claimed he was writing each year, and indeed is even short of the 6 he claimed he was selling. So either he was exaggerating or he was turning out as much non-genre material as he was SF. I’ve certainly seen mention of a couple of early non-genre novels, The Crutch of Memory – Barrie & Rockliff (1964) & Wear the Butcher’s Medal – Pocket (1965), so who knows what else might be lurking out there in the great paperback graveyard.)

(There’s a third solution: to live on bread and cheese in one room, preferably in a warm part of the country to save on heating bills. Some people can stand it. I can’t. When I first moved to London from my home, my earnings as a writer averaged four pounds a week and I was renting a two-guinea room. I gave up and went to work for Sam Youd and it was two and a half years before I plucked up the courage to try freelancing again – by which time I was married and Marjorie was still working, so it wasn’t so risky… This suggests another solution I’s overlooked: marry an heiress. Difficult. So few heiresses appreciate SF.)

All this stems from some comments in Vector #32, where Ken Slater was explaining the facts of life to those of his customers who wanted to know why they couldn’t have the Ballantine edition of The Whole Man (Telepathist in the UK) instead of the Faber hardcover edition to be followed in about two years time by a Penguin.

Well it’s nice to know that so many people are eager to read my stuff… and I’m not even much hurt by the fact that they aren’t eager enough to pay eighteen shillings for the privilege of reading it now, this minute. Among my colleagues I’m regarded as something of a subversive for approving of original paperbacks – but why not? After all, there are few books you read more than once. A typical novel is likely to give you an evening’s entertainment at the speed most moderately literate people read. It seems reasonable to pay for it what you’d pay for a seat at the local cinema or a gallery seat in a theatre; say 3/6 to 7/6, the price of a current paperback.

But look at the matter from the author’s point of view. Look at it, specifically, from mine. Turning out up to eight books a year means that at least one of those books is going to be really good; the rest will range from competent to barely passable, or even lousy, and would benefit immensely from being put on the shelf in manuscript form until I have the time and the inclination to revise, polish, or perhaps scrap them.

If, out of a given book, I’m making only £350 (£6,037 in 2017) less the 10% which the agent takes (which is what happens if I sell it solely to an American paperback publisher who then markets his own edition in Britain), I have to keep churning them out. From the outside, I should perhaps explain, writing books looks like a cheap way of running a business, but I often find when making up my tax returns that my deductible expenses – i.e. those incurred directly in connection with my work – have used up 20% of my gross income.

(Doctor Strangemind: I do wish he had added a little more detail at this point. I’m very curious to know just what those deductible expenses were that using up so much of his income. I strongly suspect, given some of the anecdotes I’ve read about him, that he had a tendency towards extravagance, but perhaps I’m being entirely unfair and it was prosaic matters such as the posting of manuscripts across the Atlantic which was eating up his funds.)

The sales of that American edition in Britain add practically nothing to my earnings; the book comes in, months or years after its first appearance in the States, attracts no attention whatever, isn’t reviewed anywhere, and does no more than spoil my chances of selling the same work to a publisher in this country. As a matter of fact, British sales may well add nothing to my earnings because the American publishers simply want to get their back stock out of the warehouse to make room for newer items. This is called ‘dumping’.

(Doctor Strangemind: Now this part really confuses me. I was under the impression that there was was some sort of legal agreement in place to ensure US publishers couldn’t sell in Britain & the Commonwealth and visa-versa. However Brunner is clearly suggesting he was dealing with US publishers who were doing just that. A quick look on The Internet Speculative Fiction Database however shows that nearly all his early US novel sales went to Ace. The only exceptions I can find are these four:

The Dreaming Earth – Pyramid (1963)
The Whole Man – Ballantine (1964)
The Squares of the City – Ballantine (1965)
The Long Result – Ballantine (1966)

I can’t see any of these publishers participating in a practise like ‘dumping’ that seems to be, at the very least, on the edge of legality. I can only wonder then if the books he is referring to were the non-genre novels whose existence I was speculating about earlier?

Not only that but he seems to think it unfair that he saw no money from this ‘dumping’ practise he claims was going on. If any publisher were actually selling to the remainder market (which seems the most likely explanation if something was indeed going on) then why does Brunner think he might earn anything from the process at all? Again, as I understand it, books are only remaindered after a contract is terminated and I doubt a publisher doing something as dubious as selling any leftover copies on the cheap is going to be keen to give the author a cut and thus provide the author with hard evidence of this practise. It all seems rather curious.)

By signing a contract which confines distribution rights of the American edition strictly to territories outside the sterling area (the wording varies, but this is an example), I can hang on to the chance of additional sales. Suppose, as happened with The Whole Man, Faber buys the manuscript: I get, eventually, another couple of hundred quid in small chunks; I get the chance of a Science Fiction Book Club selection which adds a bit more; I get the chance of a paperback sale in Britain which adds a great deal more; over a period of about three to five years I’ve comfortably doubled the proceeds. I know it’s an awful nuisance to have to wait for the Penguin edition in 1968 or whenever before you can read this book that all your fan friends in Oshkosh or Walla Walla are raving about. But it contains a blessing in disguise: by 1968 I shall have put together my long-awaited epic, Soul Slaves of the Umpteenth Continuum, and its going to make all my previous work look like Kid-dee Com-ics. Up until now force of circumstance and the wolf at the door have conspired to make me postpone work on it.

(Doctor Strangemind: Brunner was clearly joking about writing the above named long awaited epic but on the other hand his four major novels; Stand On Zanzibar (1968), The Jagged Orbit (1969), The Sheep Look Up (1972), & The Shockwave Rider (1975) were just a few years in the future at this point so the comments above are far closer to the truth than anybody realised in 1967.)stand on zanzibar doubleday 1968

More seriously, here are some hard figures by which you can gauge the economics of the field as they apply to a competent, diligent writer of average output and adequate persistence. Let’s call him Theokurt Frishblitz in honour of some of my personal idols.

(Doctor Strangemind: No, I’ve no idea who these personal idols Brunner was alluding to when he named his character Theokurt Frishblitz, possibly nobody but Brunner would ever have any idea. Still, feel free to speculate as I’d be interested in any suggestions.)

In Year One of his career Mr. Frishblitz breaks through the hitherto impenetrable wall of rejection slips, revises his long-standing opinion of all editors as purblind nits, and sells a short story to Unused Planets, a British magazine with a high reputation and low rates, Proceeds: about £10 (£172 in 2017).

Encouraged, he stands the editor a drink and makes a note in his diary: To Business Expenses, 3/6. The editor is favourably impressed with his idea for a novelette and promises it the cover if it turns out okay. He also suggests some alterations and improvements in the story line. Mr. Frishblitz gets it right on the second submission. Proceeds: about £50 (£862 in 2017).

One or two or possibly more stories later, he conceives his first novel, and offers it as a serial. It clicks. Proceeds: about £150 (£2,587 in 2017).

Provided he has had the good sense to to make two carbons of this novel he can now cast covetous eyes on the U.S. Market. So far he’s been getting nothing but bounces – from stories which Unused Planets thereupon bought at the minimal British rates. But a novel, surely, which has been serialised…?

Mr. Frishblitz wraps it up, fills out the customs declaration with an optimistic assessment of the book’s value (which will later cause some wrangling and delay in U.S. Customs), and mails it to Trump Books Inc., a small but voracious paperback house in New York with an enormous output of SF. It comes back, much later, with a reasonably kind letter saying they published more or less the same story in 1937 and just reprinted it, but would welcome more of his work; they pay a standard advance of $1,000 ($7,186 in 2017) and would rather the customs slip was marked NO COMMERCIAL VALUE because it makes things simpler at the New York end.

At the end of Year One Mr. Frishblitz tots up his earnings. Rejections included he’s written some hundred thousand words or so – which is a lot of words if you count them one by one. It’s even more if you take re-writes into account. He’s made about £250 (£4,312 in 2017), which is good going for his first year.

What to do? Well… how about an agent? He applies to Scotfree Cheeryble Inc., who – according to The Writer’s Annual – had the highest turnover in America last year and sold one book for a total of $175,000. A note comes back saying, with devastating honesty, that Cheeryble aren’t much interested until a writer is making $1,000 p.a. on his own; then they’ll consider accepting him.

He already knows how much $1,000 is – he worked it out when he got the letter from Trump Books. It’s £357. Anyway, what does he want to give 10% of his earnings for? He’s doing okay, isn’t he?

We-ell…

Let’s skip the interval during which he learns the basic economics of the job and jump to the year in which he quits his regular employment to take a flyer as a freelance; lets say that this is Year Five of his writing career. He’s saved up enough to risk an initial drop in his total income, though his wife is afraid of having to go back to work, and his two children are more expensive than racehorses to feed and keep. The accumulated frustration left over from part-time work, interrupted by having to go to the office every day, lets go with a surge and carries him through the first half of the year with three novels and a couple of good novelettes.

He sells the novelettes – totaling 30,000 words – to U.S. magazines and makes from them what he made in his first year’s work: £250 (£4,312 in 2017). He sells the first two novels to Trump, which he now regards as a safe market, for $1,000 ($7,186 in 2017) and $1250 ($8,982 in 2017) respectively.

Novel three comes back with a regretful note to say it’s below standard, try again.

To Mr. Frishblitz this is a sore blow. He does no more work for a month through worrying; then starts worrying about not working; then the worry fouls him up for a further month, during which time the children eat the proceeds of the sales so far this year. By year’s end he’s recovered enough to have completed a fourth novel. Proceeds this year amount to an acceptable £1500 (£25,880 in 2017), but he’s written about 300,000 words for that, some of which hasn’t found a home, and he’s not sure he can manage the wordage equivalent of five novels every year from now on. His imagination is getting a bit tattered around the edges and what he really wants to do is spend a month researching a magnum opus about colonising the ocean-bed, whereas Trump Books are asking for a sensational novel about adultery in free fall, tentatively titled Peyton Planet.

If he has any sense, this is when he writes to Cheeryble Inc. again. He has the sales behind to make them interested, but he lacks the specialised knowledge to exploit himself.

Lets wish him luck and see how he’s doing in Year Ten.

In this year he writes three books, one of them on commission from a publisher who bought an earlier novel. This is a comfortable pace to write at; it allows time for adequate research, second thoughts, re-reading, and if necessary complete revision which generally permits him to make sure that what he wraps and mails is as good as he can make it. Proceeds are roughly as follows:

The first novel appears, specially abridged by himself, as the lead short novel in a U.S. magazine and grosses $500 ($3,593 in 2017), then sells to a paperback house for $1500 ($10,779 in 2017) and to an English publisher for £150 (£2,587 in 2017), in the full-length version. The second is published as a two-part serial in a U.S. magazine, which pays $800 ($5,749 in 2017), and also goes to a paperback house for $1,500 ($10,779 in 2017), but is too far out to interest the rather conservative British publishers. Not to worry: number three marks two ‘first’ notches for him – his first U.S. hardback edition and his first double sale in Britain, to both hardback and paperback houses, as well as going to a U.S. paperback publisher, bringing some $2,000 ($14,372 in 2017) and £400 (£6,900 in 2017) from a single book. In addition he receives some small royalties from previous work, and there is no reason why novel number two should not later on find a home in Britain; moreover, by now he’s picking up the odd translation sale, and when the escudos, franks, marks, and whatsits are converted to sterling they add another 100-odd quid to the year’s total.

(Doctor Strangemind: This is where my point about there being a transitory period is best illustrated. It was only during those years between the early fifties and the eighties that it was possible to sell the same work in differing forms this many times.)

Year Ten therefore sees him comfortably established with an income of around £2,500 (£43,123 in 2017) plus past, future, and imponderable accretions from work not actually done during the year. He is doing very well considering the field he is in. Next year he may very well make less than £1,000 (£17,249 in 2017) because he breaks his wrist and can’t type, or he may make £10,000 (£172,493 in 2017) because his agent happens to be drinking within earshot of a film producer and seizes his chance on hearing the producer is looking for a science fiction property. He can’t tell. But he wouldn’t trade problems with anybody, He’s hooked on writing.

Mr. Frishblitz did everything right, and had the single essential attribute out of that list at the beginning of his career, which is persistence. He’s probably about thirty-five or forty; he gets half a dozen fan letters a year, is asked to speak at conventions, and when the BBC puts a programme together about SF they send someone around with a tape recorder and use two minutes forty seconds on the air. He’s okay. But if it hadn’t been SF he wanted to write – if it had been , say, TV serials and he sold an idea which caught on like Dr. Who – he might easily have made in the first two years enough to retire on, in a gracious modern house on Grand Bahama Island with his own private beach, and the seventeen Frishblitz books you so greatly enjoyed over the past ten years would never have been written at all.

Sometime I must ask Mr. Frishblitz which way he’d have preferred it to turn out back in Year One of his career…

If this article finds its way into the hands of any U.S. readers, they should remember the phoniness of the dollars-to-pounds exchange rate. In this country an annual income in the Frishblitz bracket will provide a comfortably furnished house, adequate food and clothing for a family of four, a medium priced car, and the occasional vacation abroad. At the current Stateside rate it would compare so badly with what one can earn in business that the writer’s wife would certainly leave him, unless she was desperately in love.

My guesstimate is that Mr. Frishblitz, living in the States, would have to earn some 50% more in order to survive, and at least 100% more to enjoy the U.S. Equivalent of Anglo-Frishblitz’s standard of living.

I couldn’t manage it. That’s why I live here. (Also I was born here, which counts for something…)

WTF? – John Brunner

Not exactly teenage romance material.

Two Complete Science Adventure Books No.9

While researching something else on the excellent Galactic Central website I noticed the above magazine cover. The John Brunner story pictured is new to me but more importantly the title given to it instantly goes into the WTF? File.

Let’s see, Brunner was born in September, 1934 and this issue of Two Complete Science-Adventure Books is dated Summer 1953. So, allowing for some time between when the story was written and when it was published I think we can assume Brunner was still in his teens when he wrote this. And let’s be frank, the title, the tag line, and the artwork all scream teenage boy to me.

To be fair to Brunner the actual story might be a totally innocuous exercise in action/adventure writing that the editor, Malcolm Reiss according to Galactic Central, decided to spice up a little. Either way it looks to me like Wing Publishing was very keen to appeal to the teenage boy market. When I look at the art for both stories pictured here my impression is that this cover includes everything Ian Fleming was about to use in his James Bond stories (the first of which, Casino Royale, was also published in 1953). And really, wouldn’t an intergalactic James Bond swanning about the star lanes have been even more fun then the Bond we ended up with?

Anyway, this just goes to show that nothing is new under the moons of Mars.

Devil Girl From Mars

You won’t believe what Mars needed in 1954.

The creator of the Daleks, Terry Nation, has admitted he moulded them on the Nazis. Thus the Daleks are violent, merciless, and pitiless cyborg aliens who are determined to conquer the universe and exterminate every other race they view as inferior, which is to say all of them. This is hardly news, Nation admitted this as far back as 1978 in an interview which appeared in Starburst Magazine (probably not the first time this came up so feel free to enlighten me as to when Nation first admitted it).

What doesn’t seem to get much mention though is how the Daleks are hardly an outlier in this regard. When it comes to British science fiction Nazis, fascists in general, and a love of eugenics are topics which have have popped up more than a few times. Sarban’s novel, The Sound of His Horn, and shorter stories such as The Fall of Frenchy Steiner by Hilary Bailey and Weinachtsabend by Keith Roberts are good examples of this. In the realm of television dystopian series such as The Guardians and 1990 have featured fascist governments ruling Britain while in Blake’s Seven something about the uniforms worn by its soldiers suggest to me that the Federation might also be just a little bit on the fascist side.

Servalan and Federation

Remind you of anybody?

More recently another British TV series, Misfits, played with an alternative timeline in which Germany had won WWII and Nazis ruled Britain. Heck, even in Space 1999 the protagonists encountered a planet where individuals with any physical deformity were ‘eliminated’. This particular idea was also used by Nigel Kneale in his TV series (and later film) Quatermass & the Pit (retitled as Five Million Years to Earth in the US). Which is not to say every villain used in in such outings is an umpteenth generation SS officer but the Nazis and eugenics clearly have been a favoured form of evil for British writers ever since WWII.

Which leads me to today’s topic, Devil Girl From Mars, a 1954 British science fiction film from Danziger Productions. I watched this one just last week (I found it on Vimeo and you might too if it hasn’t since been taken down) and while I can’t tell you that it’s a great flick, neither would I label it as terrible. If I had to give Devil Girl From Mars a one word rating that word would be unambitious. Yet in a way it’s very lack of ambition is what made it interesting to me.

Devil Poster 1

The reason I call Devil Girl From Mars unambitious is mostly because the plot feels like it has been filched from the sort films about Nazi spies or saboteurs being made in Britain only a decade before. Like them Devil Girl is set in a remote location, in this case an inn deep in the Scottish highlands during winter. As with those wartime films the opening scenes introduce a large number of characters; the elderly Scottish couple who own the inn, their barmaid, a crippled handyman, a small boy, a glamorous city woman, the escaped convict boyfriend of the barmaid, a reporter, and a scientist, the last two wandering around the the Scottish Highlands in search of a reported meteor. These films always required such a varied cast in order to demonstrate how British folk from all walks of life would firmly united against the Nazi, or in the case of this revamp, the alien menace.

Devil Poster 2

As was also the tradition with such British films of the 50s certain scenes would descend into overly fraught melodrama. This seems to have been a ploy designed to establish the degree of sacrifice certain characters would be making in order to defeat the Nazi, or in this case alien, menace. It’s always a safe bet that at least one or more of the cast who is required to aggressively emote will go on to make such a sacrifice before the film ends. Personally, I associate this sort of performance with amateur theatrics and I don’t think I’m alone. The cast of the BBC radio comedy, Round the Horne, took great delight in expertly lampooning this sort of thing. Betty Marsden, as Dame Celia Molestrangler, and Hugh Paddick, as ageing juvenile Binkie Huckaback would overact dialogue such as the following:

Binkie: I know.
Celia:    I know, you know.
Binkie: I know you know I know.
Celia:    I know. Then why can’t you give it to me?
Binkie: It’s not easy Fiona.
Celia:    It’s not hard Charles. If you try. And now you’re going.
Binkie: I have to. This is something I should have done a long time ago.
Celia:    Is it her? Daphne?
Binkie: Yes, Fiona. I must go. She needs me.
Celia:    I need you. Does this mean nothing?
Binkie: Daphne needs me more. Much more. But I shall think of you all the time I am with her.
Celia:    I’ll wait for you Charles. You will come back to me won’t you? Please say you’ll come back to me.
Binkie: I always come back don’t I?

At this point Binkie takes Daphne the dog for a walk.

Anyway, so we’re sixteen minutes in before the previously mentioned meteor the professor and reporter are looking for, or ‘unidentified white aircraft’ as the radio announcer calls it, arrives on screen and proves to be a rather decent looking flying saucer for a 1954 science fiction film. It lands and sits there glowing menacingly until minute twenty-four when Nyah, the devil girl of the title steps out. As can be seen above all the posters depicted Patricia Laffan, who plays Nyah, in a skintight catsuit. Laffan actually wears a black mini skirt with stockings, mid-calf boots, and a long black cape. Does this make her a more impressive looking alien threat? Hmm… either works if you ask me. The catsuit would have made her a predecessor to Diana Rigg as Emma Peel whereas this outfit makes her a predecessor to Jacqueline Pearce as Servalan.

Devil Girl From Mars

Almost immediately after exiting her ship Nyah encounters the crippled handyman trying to flee home and using what looks like a glue gun disintegrates every part of him but his glasses. Having displayed the sort of ruthlessness that would win make a Dalek proud Nyah then appears at the hotel and explains that she’s from Mars, that there has been a war between women and men which the women won, the women now rule Mars but ‘the males have fallen into a decline and the birth rate is dropping tremendously for despite our advanced science we have still found no way of creating life’. Turns out that Nyah’s solution is to collect some nice, healthy breeding stock from Earth. Upon hearing about this plan the reporter is inexplicably outraged by the idea that Nyah will proceed to London and select a few such specimens to take back to Mars. I could understand if he was a bit jealous or if British men truly hated breeding but I’m pretty sure it was neither of these.

This is the point at which the retooled Nazi spy script started to not work for Devil Girl From Mars. Unlike Nazi spies Nyah’s intentions don’t threaten the British way of life in any way. I’m sure if she made it to London and announced her plan to the authorities there they would be able to provide her with more than enough willing volunteers. Even if she announced it was a one way ticket I doubt there would be any shortage of men lining up for the physical. I should perhaps also point out that despite her brusque demeanour (very like the stereotypical Nazi she was based upon) Nyah is not an unpleasant threat. Combine this with the fact that all she wants to do is take a few men back to Mars and it becomes very difficult to empathise with this British desire to stop other people from having a good time.

Of course Nyah does talk like a recycled Nazi:

Today it is you that learns the power of Mars. Tomorrow it will be the whole world.

Fill your eyes Earthman. See such power as you never dreamed existed.

You fools! Do you think you can hurt me with this? Even your limited intelligence should have convinced you by now that you cannot harm me.

Talking tough like this is all very well but it has to be backed up with action in order to convince the audience. This sort of dialogue from a Nazi character works because the audience knows what the Nazis were capable of. When an alien whose plan is nothing more than to collect a harem talks this way it just sounds empty and pompous. Yes, she killed the cripple handyman but she doesn’t even boast of this to the other characters or threaten to kill them all she leaves. I’m pretty sure a Nazi would not have made such an oversight. Another area where the scriptwriter needed to tweak the Nazi spy plot I think.

The majority of the plot revolves around Nyah making multiple visits to the inn as she waits for her ship of living metal to repair itself. While there she amuses herself by telling the humans about how powerful she and her race are and how humanity can do nothing to thwart her. The Brits look scared at these pronouncements and then when she leaves they immediately make plans to thwart her, none of which come even close to succeeding (as Nyah keeps predicting). At one point Nyah takes the scientist back to her ship to show him around and browbeat him with some truly impressive technobabble. A little later she shows off her robot to the whole group. Chani the robot is a big, bulky, man-like device which shuffles around awkwardly and disintegrates things in a rather similar manner to the Martians in the 1953 version of The War Of the Worlds. I suspect all this coming and going was caused by the fact that these Nazi spy movies usually had multiple villains and for some reason it was decided not to give Nyah any companions. This meant that scenes which previously would be split amongst various villains all required her presence and thus a certain amount of scene repetition.

Victor Harbour Times (SA) Friday 30 September 1955

Eventually Nyah chooses to take the escaped criminal boyfriend with her and predictably the scientist is able to tell this fellow how to cause the ship to explode and shield British men from the attention of alien women. Nyah’s ship takes of with the boyfriend and her inside but before the ship gets very far it disintegrates in one of the best explosions I’ve seen in a science fiction film.

Mirror (Perth, WA) Saturday 26 March 1955

As I wrote at the start of this article this is a competent but unambitious effort. Things are set up early on and paid off later, the characters all have something to do in plot terms and apart from that lovely final explosion the effects are decent without being Western Herald (Bourke NSW) Friday 28 June 1957really impressive. Patricia Laffan is quite good as Nyah the alien from Mars and her outfit is quite impressive looking but the rest of the cast fail to rise above soap opera quality. The film isn’t sufficiently engaging plot wise as there is really very little at stake and Nyah is made too indestructible to generate dramatic tension. On the other hand it’s quite well made for a 1954 science fiction movie, they really did put a decent amount of effort into it. I did find the soundtrack took some getting use to though as the musical score is used quite aggressively to to tell the viewer how they should feel about each scene (a not uncommon practise in 50s movies it has to be said).

What I found most fascinating about this movie was how so many of the details suggested the script was cribbed from earlier films about Nazi spies invading British soil. I would certainly label Devil Girl From Mars as exhibit A when making a case for the Nazis as an integral part of British science fiction.

Also of interest is the fact that Devil Girl From Mars had a very positive reception in Australia. As can be seen from the above review scanned from the Friday, 28 June, 1957 issue of the Western Herald newspaper not only did the film garner a positive reaction but was also paired with movies such as The Colditz Story and The Big Heat, films that have retained a higher reputation than Devil Girl.

The Canberra Times (ACT) Wednesday 28 August 1957

Above and beyond the relative quality of the films quoted above I can’t see how anybody could decide that Devil Girl From Mars was a logical pairing with either of them.

Australia was a weird place in the 50s.

Alien Skulduggery

A skull ain’t nothing but a close shave gone wrong.

Skull Men

Attention warriors of Zlinn! I have decided that we will not be invading Earth after all. It turns out the Olympic sculling event isn’t what I thought it was. The lizard men can have the place for all I care!”

The warriors of Zlinn made their first (and not surprisingly their last) appearance in When the Skull Men Swooped which appeared in Scoops #3, 24 February 1934. Scoops was a British magazine which published a good deal of primitive science fiction. Like most of the stories which appeared in the magazine When the Skull Men Swooped has no author attributed to it. A lucky escape indeed for whoever was responsible given the quality of the story.

Hugo, Where Art Thou?

Rocket, rocket, who has the rockets.

Hugo 1953 Astounding
1953 Hugo Award for Astounding Science Fiction

While writing about the Hugo situation in 1955 the other day I mentioned that Ron Smith won a Hugo in 1956 for his fanzine, Inside. This particular award is of special interest to me because as far as I’m aware the rocket Ron was awarded is the only one that has had a long-term residency in Australia. I’ve read that it was displayed in the window of Merv Binns’ Space Ago Books in Melbourne for many years after Ron Smith moved to Australia in, I think, the early sixties. I can’t vouch for that because I only managed to visit Space Age a couple of times while the store was still a going concern and was too eager to get inside to be concerned about what might be in the window display. Space Age Books is of course has long been a thing of the past now and presumably Ron Smith has passed away too so that makes me wonder what happened to his rocket? I’m assuming that when Space Age Books stopped being a bricks and mortar establishment the rocket went back to Ron (if not before that) but I can’t be certain. Hopefully somebody living in Melbourne reading this will know the answer to my query or perhaps be able to dig an answer out of Merv.

Anyway, having begun this line of thought I started to wonder if anybody has made any attempt to track down the location of the various Hugo statues that have been handed out in the past 65 or so years. I’m not thinking so much about those awarded in recent decades as I assume all those recipients are still alive and have their rockets somewhere safe. On the other hand I don’t think many of the award winners prior to 1970 other than Robert Silverberg and Harlan Ellison are still with us. Now in some cases, Robert Heinlein, Philip Dick, and Frank Herbert for example, I imagine their rockets are safe with whichever organisation their papers were donated to, but what about those authors like Mark Clifton or Eric Frank Russell who drifted away from the field before they passed away? For that matter a quick count shows 17 Professional Magazine, 16 Professional Illustrator, 21 Fanzine/Fan, 8 Dramatic, and 13 Miscellaneous Hugo Awards were handed out prior to 1970. I have to wonder how many of those rockets do we know the location of?

This strikes me as a useful project to tackle. I’m sure I’m not the only one who would be curious to know where they all those awards ended up.

Any answers?

They’d Rather Be Right

So just what happened in 1955?

Despite the battle in recent years over what works should be on the voting shortlist the Hugo awards have been relatively free of controversy since they were first awarded at the 11th Worldcon way back in 1953. Sure, I doubt there’s ever been a Hugo awarded in any category that absolutely everybody thought was well deserved. I don’t rate that as controversy though given the Hugo Awards are decided by popular vote and the disparate individuals who have voted on them each year naturally held many divergent opinions as to what constituted the best. To rate as controversy in my book there has to be some disagreement about how the awards have been run or how a particular winner was decided.

Off the top of my head I can think of only two instances that came anywhere close to plunging even a tiny slice of all fandom into war. One involved a well-known and extremely volatile author who became upset in the sixties because a particular worldcon committee was planning to not include the Dramatic Presentation Award (the committee eventually changed their minds). The other was a negative reaction in the seventies to what was seen by some as block voting for a particular fan artist (the artist decided to remove himself from future award contention).

Given all this perhaps it’s not surprising that the typical reaction to the most inexplicable TRBRHugo winner of all time, the novel They’d Rather Be Right by Mark Clifton and Frank Riley, has been more one of sorrow than anger. In the years since this novel was given the Best Novel Hugo in 1955 there have been two schools of thought in regards to They’d Rather Be Right. One is that it’s a mediocre novel that didn’t deserve to win a Hugo and the other is that it’s an underachieving novel that inexplicably won a Hugo.

Back in February of 2011 Rich Coad published Sense of Wonder Stories #5 and in that issue of his fanzine he included a cleaned up version of an e-list discussion in which the participants discussed Mark Clifton, Frank Riley and even made some attempt to explain why They’d Rather Be Right won the 1955 Hugo. It’s quite an interesting discussion despite the way (or perhaps even because) it rambles from topic to topic so if you’re interested a PDF of Sense of Wonder Stories #5 can be found on eFanzines.

Anyway, after reading that e-list discussion I did some research of my own and eventually developed a theory (oh what a surprise) which I’ll share with you here. First though I’d like to point out that while I’ll make what I think are some interesting points, these can only be considered tentative without any input from the fans who voted in 1955. Unfortunately asking those fans is a tad difficult given most of them are no longer alive enough for the likes of me to bother them. What I did instead was the next best thing and examined the historical record. In other words I went and looked through all the fanzines I have in my collection to see what was being written about They’d Rather Be Right back in the 50s.

Unfortunately my collection is not nearly so complete that I can describe the results of this search as being definitive but I do like to think that what I did discover carries some weight. For starters I was only able to find two references to They’d Rather Be Right but interestingly they’re both at odds with the more recent opinions. In Fantasy-Times #214 (January 1955) Thomas Gardener in his annual review of print science fiction describes They’d Rather Be Right as the best novel of 1954 and in Etherline #45 (1955), ‘So far, it’s excellent!’ is the opinion of Tony Santos in regards to the first instalment of the serial in Astounding. Now two positive comments isn’t a lot to go on but it still suggests the novel had a few fans back when it was first published.

GalaxyAdmittedly, as my friend Mark Plummer has pointed out, all the professional reviewers in the science fiction magazines had something to say, but how much were their reviews duty and how much real enthusiasm? Look at the review by Floyd C. Gale published in Galaxy Science Fiction, July 1958 to the right. Hardly a ringing endorsement, is it?

Okay, so if the enthusiasm for They’d Rather Be Right melted away faster than an ice cream on Venus then why oh why did it manage to win an award?

The Sense of Wonder Stories discussion touches on three possible reasons as to why They’d Rather Be Right won despite so little evidence of enthusiasm for it. Of these I don’t find the suggestion that it was carried over the line by a block vote from the Dianetics supporters very convincing. Given Dianetics was going through a very exciting early growth spurt at this point I doubt anybody but those members who were also science fiction fans would be concerned about a fledgling set of science fiction awards. I’m willing to believe that some, if not all, the various fans who were also into Dianetics could and did vote for They’d Rather Be Right but that’s all. I’m pretty sure that if any of them had tried to organise a block vote there would be some evidence of that. I’ve seen no mention of anything like a push to secure a Hugo for They’d Rather Be Right in any fanzine I checked and I’m certain that if anybody had tried to organise such a push rumours about the attempt would be published everywhere regardless of proof.

On to the second possible reason and not having access to any issues of Astounding from the relevant period I don’t have any evidence that John Campbell actively promoted They’d Rather Be Right for the Hugo (besides which, it wouldn’t be a good look to offer too much support) but it wouldn’t surprise me in the least if he at least put in a good word for it. Even putting his infatuation with Dianetics to one side, a win for a novel serialised in Astounding wouldn’t hurt his ego. Winning awards, even vicariously, feels good and is also the sort of news an editor likes to pass on up the corporate ladder to those paying his wage. I still doubt there was anything approaching a block vote for They’d Rather Be Right but if the novel was suggested for the award anywhere it was probably in the pages of Astounding. If nothing else John Campbell would surely be happy to stop Horace Gold, his editorial rival at Galaxy and regular sparring partner, from winning with the Frederik Pohl and Cyril M. Kornbluth novel, Gladiator At Law.

This brings us to the third and most interesting suggestion, that They’d Rather Be Right gained the inside running because the overall vote was split between multiple candidates. This idea wasn’t properly pursued in the Sense of Wonder Stories discussion, mostly I think because so few possible alternatives to the Clifton/Riley novel were brought up in that discussion. However that paltry list of rivals was based upon two false assumptions, that what fans in 2005 remember as being the good novels of 1954 were the same as fannish opinion in 1955, and that voters in 1955 had a clear idea of what was eligible. This is where a little more research can make a lot of difference (even if your references are incomplete like mine).

For a start the picture I received by looking through my fanzine collection is that the field of potential candidates was much larger than assumed in the e-list discussion. During 1954/55 the following novels received positive book reviews in at least two different fanzines: Gladiator At Law by Frederik Pohl and Cyril Kornbluth, Messiah by Gore Vidal, Hell’s Pavement by Damon Knight, Against the Fall of Night by Arthur C. Clarke, I Am Legend by Richard Matheson, Fury by Henry Kuttner, West of the Sun by Edgar Pangborn, The Kraken Wakes by John Wyndham, The Caves of Steel by Isaac Asimov, and A Mirror For Observers by Edgar Pangborn. I’ve not read everything on this list but of the novels I have read there are none I would rate as unworthy of a Hugo nomination.

Now the key fact to note here is that until 1959 there was no filtering process in place to winnow down the number of options. It wasn’t till then that a worldcon committee decided to have voters first nominate which novels should appear on a short-list and then vote on that. Before that each committee would simply include ballots in their progress reports. The example I have here is a 1953 ballot taken from Progress Report #4 published by 11th Worldcon. By the way, the progress report I took it from was addressed to T.L. Sherred but couldn’t be delivered for some reason and was returned to sender. Thus I was the first person to lay eyes upon this ballot since it was originally sent out all those years ago (I do hope T.L. Sherred still managed to get his vote in). Anyway, as far as I can tell the 1955 ballots were essentially identical to this 1953 example:

1953 Hugo Ballot Side A

 

1953 Hugo Ballot Side B

Now, given such a crude system I can see how those novels listed above probably took votes away from each other. Books like Messiah or I Am Legend had no chance of winning but that doesn’t mean they didn’t receive a few votes regardless.

Now of course some of you will be falling over yourselves to point out to me that not all the novels listed above were eligible for the 1955 Hugo and you will be right. This indeed was surely part of the problem because those who voted in 1955 didn’t have access to most of the references we do. For example a quick search online shows me that The Kraken Wakes was first published in 1953 and thus was ineligible (depending on whether the Cleveland Committee counted foreign publication or not). Somebody who bought their copy of the Wyndham novel from one of the book dealers listed in Fantasy Advertiser might not be aware of this and vote mistakenly. Even if we assume every voter did a little checking and took care to not choose any clearly ineligible novels I bet errors were still made. As Mark Plummer notes in his Sense of Wonder Stories #6 letter, the period of eligibility wasn’t a calendar year but ran from August to August. That would be easy if all the above examples had seen magazine publication but as some hadn’t voters would have to decide eligibility by whatever year was quoted in the copyright notice at the front of whichever book they happened to possess. I expect the Cleveland Worldcon Committee culled out any errors they spotted since I assume they knew what was eligible and what wasn’t but that doesn’t entirely negate the problem. Every mistaken vote cast reduces the (probably) small number of votes and makes it just that much easier for John Campbell to potentially encourage the readership of Astounding to roll right over the rivals to They’d Rather Be Right.

It has become clear to me that the key to the win by They’d Rather Be Right was the mechanics of the voting system. I see that Mark Plummer also mentions in Sense of Wonder Stories #6 how Nycon II, the 1956 worldcon, wanted ‘a more representative vote’, which I suppose could mean anything but which I suspect is a tacit admission that the 1955 votes were spread between too many candidates. It’s not too hard to imagine the Nycon II Committee hearing from the Clevention Committee about how They’d Rather Be Right beat out out the likes of Gladiator At Law despite the latter being a better regarded novel because so many other books received votes. It’s also possible that some of the Clevention Committee didn’t approve of certain novels getting voted for at all, Messiah and I Am Legend come to mind in this regard, and wanted something done to discourage future voting for novels like those.

On a side note it’s worth noting that as per speculation in the Sense of Wonder Stories #5 Mark Clifton had a pretty high profile in 1955. Not only had he written a number of well liked stories but he also had an article about writing science fiction in the ninth issue of Ron Smith’s fanzine, Inside (May 1955), a fanzine to which fandom was clearly paying attention as it won the Fanzine Hugo in 1956. Oh, and according to various issues of Fantasy Times Mark Clifton attended several conventions in the mid-fifties and was announced as one of the speakers at the 1955 Worldcon. I’ve no idea if he did turn up and speak but just the news that he would be there no doubt helped ensure that nobody forgot he existed.

So let that be a lesson to you all. Regardless of how you feel about the current nominating and voting process for the Hugos you still have it better than they did in 1953. I suggest you lull yourself to sleep at night with that thought.