As I was about to say yesterday, before I was interrupted…
(1) THE SOUND OF MONEY. Kristine Kathryn Rusch pointed her readers to bestselling writer Michael J. Sullivan’s a post on Reddit titled “Why Del Rey and I Will Be Parting Ways” and gave a complimentary analysis on the way Sullivan handled his audiobook rights.
Here, I want to applaud Michael and his wife Robin for their negotiating skills and for their attitude.
To summarize the highlights of the blog about Del Rey, for those of you who haven’t jumped over to read it, Michael and Robin learned from their first major contract with a traditional publisher to retain audio rights. Michael and Robin didn’t do so on that first big contract, and then the audio rights sold for $400,000, of which Michael and Robin saw only $200,000 (subsidiary rights in a standard publishing contract are split 50/50 with a publisher).
So — and here’s a nice bit of brilliance — Michael and Robin didn’t want to lose audio rights again. When the time to negotiate a new Del Rey contract came around, Michael and Robin had already sold audio rights to those books, taking those rights off the table entirely.
They thought through what they wanted, and rather than argue over the rights, or get the print publisher to bump an advance, or go through all of the little tricks that people on the other side of the table do when negotiating, Michael and Robin were proactive. They made sure they got what they wanted with audio first.
And there’s a lot more good information in Rusch’s post.
(2) THE FLUID PAST. Guy Gavriel Kay tweeted a link to this article, one in which he is cited and discussed. “‘Facts are not truth’: Hilary Mantel goes on the record about historical fiction”.
In Mantel’s view, the past is not something we passively consume, either, but that which we actively “create” in each act of remembrance. That’s not to say, of course, that Mantel is arguing that there are no historical “facts” or that the past didn’t happen. Rather, she reminds us that the evidence we use to give narrative shape to the past is “always partial” , and often “incomplete” . “Facts are not truth” , Mantel argues, but “the record of what’s left on the record.” It is up to the living to interpret, or, indeed, misinterpret, those accounts.
In this respect the writer of historical fiction is not working in direct opposition to the professional historian: both must think creatively about what remains, deploying — especially when faced with gaps and silences in the archive — “selection, elision, artful arrangement” , literary manoeuvres more closely associated with novelist Philippa Gregory than with [John] Guy the historian. However, exceptional examples from both fields should, claims Mantel, be “self-questioning” and always willing to undermine their own claims to authenticity.
(3) WEBCOMICS AT LOC. The Library of Congress now has a webcomics archive, collecting 39 strips including the multi-Hugo winning Girl Genius.
This collection focuses on comics created specifically for the web and supplements the Library of Congress’ extensive holdings in both comic books, graphic novels, and original comic art. Webcomics are an increasingly popular format utilized by contemporary creators in the field and often includes material by artists not available elsewhere. Webcomics selected for this collection include award-winning comics (Eisner Awards, Harvey Awards, Eagle Awards, and Shuster Awards) as well as webcomics that have significance in the field due to longevity, reputation, and subject matter. This collection includes work by artists and subjects not traditionally represented in mainstream comics, including women artists and characters, artists and characters of color, LGBTQ+ artists and characters, as well as subjects such as politics, health and human sexuality, and autobiography. The content of these websites is captured as it was originally produced and may include content that is not suitable for all ages.
(4) EARLY DAYS. Kalimac reminisces about “ Dark Carnival” bookstore.
But I remember Dark Carnival from its earliest days. It was the first sf specialty store in the Bay Area, long before Borderlands or Future Fantasy and even a bit before The Other Change of Hobbit or Fantasy Etc. (Of these, only Borderlands is still with us, and it had a scare not long ago.) I found it down on the south stretch of Telegraph, the first of its three locations, when I returned to UC in the fall of 1976. It was very small then, mostly a large semicircle of paperbacks, but there wasn’t a lot to stock in those days. Jack Rems, owner ever since, was usually there, as was his first clerk, a young woman named Lisa Goldstein, who’d occasionally mention she was working on a novel. It was published several years later and led her on the path to becoming the renowned fantasy author she is today, but then she was a bookstore clerk. D. and I would hang out down there and indulge in a lot of chatter with Jack and Lisa, but we’d also buy books.
(5) LA’S SHINING WEST TRIBUTE. NOTE: WE MISSED THIS ONE. On Thursday Los Angeles city officials will turn on the Bat-SIgnal.
Los Angeles Mayor Eric Garcetti will light the Bat-Signal over Los Angeles in a special ceremony honoring the late Adam West, who starred in the 60s Batman TV series as the Caped Crusader himself.
The ceremony will be conducted on Thursday, June 15 at 7:30 p.m. PST at Los Angeles City Hall. Garcetti will be joined by unnamed special guests for the tribute, along with Los Angeles Police Department Chief Charlie Beck.
Once lit, the Bat-Signal will be projected on Los Angeles City Hall for an undisclosed period of time.
(6) TRACING BATMAN’S BAT BUCKS. In “How Does Batman make All His Money?” on looper.com, Chris Sims looks at the roots of the Wayne fortune, including how Bruce Wayne’s wealth began with Revolutionary War hero “Mad Anthony” Wayne and how Thomas Wayne’s marriage to Martha Kane united a financial empire with one based on chemicals.
All of this still leaves the question of where Batman gets his fortune in the world of Gotham City, but if you’ve read enough comics, it shouldn’t come as a surprise that Bruce Wayne’s infinite pile of money has an origin story just like everything else. The short version? The Waynes have always been rich.
As it turns out, they’re about as old as Old Money gets in America, with a merchant fortune that came over from Europe in colonial times, growing as Gotham City expanded to form the cornerstone of an industrial empire. In 2011’s Batman: Gates of Gotham, Scott Snyder, Kyle Higgins, and Trevor McCarthy put the spotlight on Alan Wayne, a turn-of-the-century ancestor for Batman who helped to shape the city itself by funding the design and construction of bridges, tunnels, and key buildings — including Wayne Tower.
(7) ALT REVIEWING. Jon Mollison reviewed Sarah A. Hoyt’s story “Freeman’s Stand” in Rocket’s Red Glare for the Castalia House blog. He has a particular view of immigrants, as reflected in this excerpt —
I didn’t recognize the tonally inconsistent version of America presented. Perhaps the good old USA had fallen so long ago that the Sons of Liberty had cobbled together an approximation through scraps of history and lost lore. If so, this was never presented, and so instead of enjoying the action, I found myself wondering where this weird America came from.
Normally, I’d be loathe to resort to the petty tactic of mentioning the “About The Author” section of a collection, but in this case it provides an important clue towards understanding why Freeman’s Stand feels like such an alien version of America. The very first thing mentioned in Hoyt’s bio is that she was born and raised in Portugal. That’s the lead-off. It’s important that you know Hoyt is Portuguese before all else. And it’s only now, after the story is concluded, that the pieces fall into place. This is a story of “Nation of Immigrants” America written by an author with a very different perspective of America than one held by a reader born and bred within her borders. That is the source of the disconnect, and I found myself wishing that I’d known from the outset that Molly’s story was that an American outsider fighting for an outsider’s vision of America. It would have resolved a number of discordant passages within the tale.
This prompted Greg Hullender to observe, “Although Sarah Hoyt imagines herself to be a fellow-traveler, given her involvement with the Sad Puppies, it’s pretty clear from this post on the Castalia House Blog that, as an immigrant from Portugal, she can never be a “real American.” Not in any sense the alt-right recognizes, anyway.”
(8) WALKING DEAD. Carl Slaughter would like to tell you about it:
The Walking Dead is a tale of sheriff Rick Grimes and his small band of survivors as they’re transformed from coddled complainers into battle tested, zombie murdering badasses. The zombie subgenre has a rich history of social commentary. Whether they be the slow walking, brain craving type or of the fast running, shrieking persuasion, the figure of the zombie has been a metaphor for all sorts of things that keep us up at night. Zombies have represented everything from mindless consumers under Capitalism in Dawn of the Dead, to fears about public health crisis in 28 Days Later, immigration in World War Z, or mega corporations in Resident Evil. And then there’s the fact that zombies originated in Haiti, where many argue it was a metaphor for slavery. Zombies are projections of our own societal fears. The Walking Dead isn’t quite any of these. Instead, The Walking Dead explores a multitude of issues, like politics, psychology, and our relationship to death. Also, the joys of cosplay. The Walking Dead is, above all else, a show about philosophical bounderies. And three in particular: (1) What constitutes life (2) What constitutes living (3) What constitutes being human.
For homework, Carl recommends The Philosophy of The Walking Dead — Wisecrack Edition.
[Thanks to JJ, Martin Morse Wooster, Stephen Burridge, Tom Galloway, John King Tarpinian, Gregory N. Hullender, and Dann for some of these stories. Title credit goes to File 770 contributing editor of the day rcade.]