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Robots still aren’t crying

Just sold my 2004 Hugo nominee, “Robots Don’t Cry”, to the Writers of the Future 30 anthology, due out in late April.

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“Al and El” re-sold

My short story, “Al and El vs. Himmler’s Hideous Horde from Hell”, has been re-sold to the anthology MONKEYING AROUND, edited by Jean Rabe. [For those of you who missed it the first time around, Al is Little Al Einstein, Master Sorceror, and El of course is Big El(eanor) Roosevelt, Warrior Princess.]

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Hugo nominee resold

Just sold a reprint of Hugo nominee “Winter Solstice” to Fantasy Scroll, a new magazine.

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Fatherly brag

My daughter Laura, winner of the Campbell Award, and author of 3 novels for Tor and 7 (and counting) for DAW, was named Guest of Honor for the 2015 Millennicon.

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The Resnick/Malzberg Dialogues #15: The Marketplace

NOTE: this article first appeared in the pages of SFWA Bulletin 155, Fall, 2002.

MIKE: One of the questions I’m asked most often by beginners is: “What kind of science fiction sells best?”

Now, why they should ask me, instead of people like Anne McCaffrey or Ray Feist, who live on the bestseller list, is a mystery, but an even bigger mystery is: What kind of science fiction sells best?

My first inclination is to answer: Good science fiction. But that’s ridiculous. Just look at what Trekbook #308 or Wookiebook #79 does to any year’s Hugo-winning novel in head-to-head competition. In fact, look at what generic 7-book trilogies do to works of literary ambition. There are mighty few totally unoriginal fantasy quest books that can’t whip a well-conceived beautifully-written science fiction novel in straight falls.

Has it always been like this?
Continue reading

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THE RETURN OF SANTIAGO to Italy

Just sold Italian rights to The Return of Santiago to Edizioni Della Vigna, the same publisher that bought Santiago a couple of weeks ago.

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New collection

Just delivered a new collection, First Person Peculiar, 24 first-person stories, with an introduction by Gregory Benford, to Wordfire Press, for a (tentative) May release.

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The Resnick/Malzberg Dialogues #14: Print On Demand

NOTE: this article first appeared in the pages of SFWA Bulletin 154, Summer, 2002. Long before the emergence of Amazon.com’s CreateSpace option.

MIKE: I’ve been writing a bi-monthly column for beginners for more than seven years now, and every now and then I deliver up a truth that has them screaming like stuck pigs. I recently did it again, so I thought maybe you and I might discuss the subject rationally, like two undistressed professionals.

The subject is Print-on-Demand books, and there are a lot of perfectly valid reasons to make use of them and those who publish them—but there is one area, the area that seems most attractive to beginners, that I consider professional poison, and that area is selling your original novel to a POD publisher.

Most of the beginners have explained to me, at hysterical length, that at least their books will see print in a field that is stacked against newcomers, and they have come up with bold and unique new ways of publicizing the novels once they’re published, and the main thing is to get it out on the stands.

The beginners also point out that even though they’re getting almost no advance (and in many cases, not a single penny up front), why, look at Catch-22, Jonathan Livingston Seagull, and The Hunt For Red October, to name just three megasellers that were bought for rock-bottom advances.

The answer, of course, is threefold:
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Goes live today!

www.BookBale.com

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SANTIAGO sold to Italy

I just sold Santiago to Italy’s Edizioni della Vigna. If you’ll check the bibliography section here, you’ll see that this is the 21st time I’ve sold it, excluding the endlessly renewed movie options.

I knew, back in 1984, that I wanted to create a myth of the far future. Then one day Carol saw a movie on TV, rented it at the store the next day, and sat me down in front of it to listen to a 45-second speech she’d moved the tape ahead to. The film was Sergio Leone’s Duck, You Sucker!, which has since been retitled A Fistful of Dynamite. In it, James Coburn plays a betrayed and disillusioned IRA revolutionary, an explosives expert who is now working for the Emperor Maximillian in Mexico. And in this brief speech, he explains that once he believed in truth and justice and loyalty and the IRA, and now all he believes in is the dynamite.” That was all the impetus I needed. You won’t find the line or even the situation in the novel, but without Carol sitting me down to listen to it, there would have been no Santiago.

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