I shuddered, then sent up a silent prayer for the folks at Colossal Fiction. Far as I knew, those poor souls didn't even publish epic fantasy. Surely karma would find a way to make it up to whichever hapless editorial assistant was forced to read Benjamin's submission. "Maybe I'll pick up a copy at your office, later," I lied.
"Oh, you should definitely come by. I've been working on something. A project you'll really want to see!"
Naturally, I assumed that Benjamin was talking about another one of his stories. So I avoided his office and the entire Computer Science department like a day-old cafeteria casserole. That's why I only found out about his amazing invention when everyone else did.
"I've been writing this program for years," said the image of Benjamin on the screen. I wasn't used to seeing Benjamin smile. But then, I wasn't used to watching his smug face on the network news, either. "The computer is in the process of analyzing all the greatest works of literature. Thousands of books. Millions of words. It'll identify patterns and figure out what makes those particular titles stand out, when compared to all the rest. And then the program will use this data to generate the definitive novel. It'll be the greatest book the world has ever read."
You can imagine the pandemonium that ensued. Talking heads speculated about how the program would reproduce the works of Shakespeare, or the Bible, or "Atlas Shrugged," or whatever book they happened to hold in high regard.
Meantime, Benjamin's computer program was in the final stages of consuming the world's classical literature. It was scheduled to spit out its manuscript on the following Tuesday. Everyone who's anyone wanted to be there and share in the moment. So it was a very pleasant surprise when I received one of the coveted invitations. My never having dumped on his fiction must've meant more to Benjamin than I realized.
On Tuesday an auditorium full of notables held their collective breath when Benjamin's program finally finished its task. The first pages of the perfect book were displayed on the giant screens set up throughout the room and everyone began to read.
It was no Shakespeare. It was no Bible. It was the worst drivel I've ever seen collected on a page. The writing punched me in the eyeballs. Once read, it could never be unread. The prose made Benjamin's own efforts appear brilliant by comparison.
The other scientists claimed that Benjamin's program was flawed. It malfunctioned due to a bug in the code or some other faulty bit of programming. But, when presented with the source code, none of them could figure out a way to fix it.
As for Benjamin, he defended his invention fiercely, illogically, even as it cost him grants and prestige. He wouldn't give up.
"There's nothing wrong with the program" he told me the same exact thing he kept telling everybody else. "Fiction is subjective. Maybe today's readers just aren't sophisticated enough to recognize this book's brilliance. The future generations will vindicate me."
And if the readers failed to recognize the merits of this book, they could just as easily fail to recognize the talent in Benjamin's writing. He didn't say this, but I could see in his eyes that he believed it indubitably.
They never found a way to improve on Benjamin's code and his project eventually faded from the public's eye. Benjamin kept on writing fiction, and he kept on amassing piles of rejections for the stories that never seemed to improve at all.
But he was a lot happier.
© 2014 by Alex Shvartsman
* * *
Alex Shvartsman is a writer and game designer. His adventures so far have included traveling to over 30 countries, playing a card game for a living, and building a successful business. Since 2010, Alex sold over 60 short stories to a variety of magazines and anthologies. His fiction has appeared in such venues as the journal of Nature, Daily Science Fiction, InterGalactic Medicine Show, Galaxy’s Edge, and many others. Alex resides in Brooklyn, NY with his wife and son.
Interview with Author Piers Anthony
Best known for his Xanth series, Piers Anthony is one of the most popular authors of fantasy and science fiction today and is followed by a large group of devoted, long-lasting fans. To date he has had over twenty novels hit the best-seller list, and he is the author of over 160 books in such varied categories as science fiction and fantasy, horror, historical fiction, and non-fiction. With an average of 3 new books published every year, Piers Anthony is one of the most prolific authors in science fiction and fantasy. We are extremely happy and honored to have the opportunity to interview Mr. Anthony, and learn a little bit more about his career and life.
Iulian: It's always fascinating to me to learn about the beginnings of prolific writers' careers, even if just scratching the surface. I know that your initial catalyst was an issue of Astounding Science Fiction, but from that to over 150 novels is a long way, and I assume that the first part of that journey was filled with hurdles and hardship. Tell us a little bit about that beginning—what made you go this way, who helped, who was in the way, and how did you manage to push through this winding road, littered with rejection and criticism?
Piers: I realized in college that I wanted to be a creative writer, but it took eight years after my decision to make my first story sale, and another four to sell my first novel. Then my publisher cheated me on royalties, and blacklisted me for six years when I protested. When new editors came in, one of whom had also been cheated there so he knew the score, the blacklisting ended. They put me on the national bestseller list. Unfortunately, ironically, I had to leave because the editor got old and started cutting out whole chapters, not seeing why that would bother an author. So it's been a roller coaster. In effect, over simplified, I had to choose between artistic integrity and bestseller status. So I am no longer a best seller. It's a choice other authors face, unfortunately.
Iulian: As a married father of two, I know that the family life and the writing life are two sides of a fragile balance, and it's not often that the two find themselves in perfect harmony. How did your family life affect or influence your writing, both growing up and later as an adult?
Piers: It seems that the root source of successful writing is to have an unhappy childhood. I was not abused, but I seriously questioned whether my life was worth living. I resolved to do better by my own children, and believe I did; my daughters did not become writers. My wife has always been supportive, and I believe having a long—58 years and counting—and quiet marriage has contributed to my success. In sum: you need to start unhappy, but thereafter you can get away with being happy.
Iulian: Your world-building is almost an art form, and over time you've created several worlds, each captured in various series or separate novels. Out of these, Xanth obviously stands out—an amazing achievement, adored by fans and publishers. But if you are to take a birds-eye view at your entire career as a writer, what would you describe as your best achievement? Once you said, and I paraphrase, "write for the readers, not for yourself." How does this circle back to you, the writer?
Piers: I regard the historical Geodyssey series as being my best work, and the ChroMagic series as my best fantasy. Xanth is easy, fun, and it pays my way, so it continues. In effect, it makes my more serious work possible. It is my most commercial fiction, and yes, it is written for my readers, a number of whom contribute to it.
Iulian: You received several awards and quite a number of your novels reached the status of best-seller. Was this ever a goal for you? Did that shape the way you approached writing in anyway? And given that your career is far from over, what is your next goal?
Piers: The main award I received was The British Fantasy Award for A Spell for Chameleon. I've never had a Hugo or Nebula. Early on I wanted awards but time and experience have satisfied me that many have become corrupted, being in-group popularity contests rather than indications of merit, and my interest in them has diminished accordingly. My goal is simply to write what pleases me, and to please my readers. I never dreamed of becoming a bestseller; that was a pleasant surprise.
Iulian: You write a lot of long fiction, mu
ch more than short fiction. Has that changed over time? It is said that today it is impossible for a writer to make a living from short stories, but perhaps this wasn't the case a while back. What are short stories for you today? Are they unfinished novel ideas, or perhaps just sprouts for future, extended works?
Piers: I regard myself as a natural story writer, but I couldn't earn a living from stories, so I switched largely to novels. Now two things have changed: I no longer need money, so can write what I want, and do. And self-publishing has flowered, so I can get my stories published. I have an ongoing series of collections going, Relationships, and sometimes I place one in a magazine or anthology, as with "Descant". I am also doing more short novels, 40,000 words, and novellas, 30,000. So my pieces are trending shorter today. I don't think most writers ever could make much of a living from short stories.
Iulian: In your long career, I am certain you had your share of interactions with editors and publishers. What was your general experience working with them? Was there someone in particular who inspired or supported you, or was the relationship more or less transactional, lacking emotional substance?
Piers: The only editor I cared about was Lester del Rey. I had admired his editing in the magazines and wanted to work with him. I retain fond memories also of his wife, July-Lynn del Rey. She was a dwarf, physically standing maybe three and a half feet tall, but what a publisher she turned out to be! My daughters knew her personally, too, and loved her. Other editors it's pretty much business. Well, there's Dan Reitz, my leading fan, who started Mundania Press to republish my dirty fantasy Pornucopia, then branched out enormously.
Iulian: I find that the larger the bibliography, the harder this question becomes, but I will ask it anyway: if you were to select your top 3 favorite works, which ones would those be? Were there surprises, such as one you thought would be great, but wasn't so greatly received by fans, and vice-versa?
Piers: 1. Tatham Mound. 2. Tarot (published in 3 parts originally.) 3. Macroscope. All were major projects from the outset. None were bestsellers. The popularity of Xanth was the main surprise. Of my shorter novels, I really like Aliena, self-published, about a nice girl with the brain of an alien starfish.
Iulian: I've always wondered why your novels haven't been turned into movies or TV series? Was this ever something you hoped for? Were you ever actively trying to pitch some of your works through agencies or movie producers? It seems like, and it's unfortunate, that some writers with long careers got their well-deserved fame only when Hollywood entered the scene. Do you think that's being a sell-out? Either way, which one of your novels would you love to see on the big screen?
Piers: I've been trying for 25 years to get movies made from my novels, and there have been some close calls. With luck it still might happen in my lifetime. Any Xanth would do, or Split Infinity, or Balook, or Aliena.
Iulian: Your short-story "Descant" leads our magazine's Issue #3. Give us a little bit about this story. Where did it come from? What was the inspiration?
Piers: Ideas constantly come to me, and I summarize them in my voluminous Ideas file, then write them when their time seems right. "Descant" was a favorite long before I wrote it. It started with the idea of singing being a better way to relate than appearance or information. When you solicited a story from me, I suggested it, and was glad for the chance to get a home for it. It was one notion among many. I don't know why I like it so much, but it still holds me. My favorite line is "You look and sound like a queen."
Iulian: With the amount of words you produce every year, it is pretty obvious to me that your free time must be very limited. However, there must be some… So, what are other things that interest you and occupy that free time?
Piers: Free time? What's that? But I do take breaks playing Free Cell on the computer, and I watch videos. Hamilton had a sale, and now I have hundreds of movies to catch up on. But mainly, I really do like to write, so free time = writing time. I am most truly alive when deep in a story or novel.
Iulian: I like to end my interviews with this question because I think there's no better advice than the one coming from those who have struggled and have succeeded: what is your advice for young writers who are trying to break through in this never-settling publishing world? Is your advice today vastly different than that from twenty or thirty years ago?
Piers: Yes. Today is vastly different, because with electronic publishing and self-publishing any writer can make his dream available for others to read. I worked to help bring this about, and I still maintain a list of electronic publishers at my HiPiers.com site, so I tell aspiring writers to check that list. I do it in significant part because I can; no one can blacklist me today for telling the truth. That's not true for most writers. But I still do tell newcomers "Don't give up your day job," or have a working spouse or a rich inheritance.
Dear Mr. Anthony, thank you very much for participating in this interview and for your contribution to our magazine.
Links:
http://hipiers.com
Interview with Author and Publisher Anna Yeatts
Anna is a fantasy and slipstream writer living in North Carolina. Her work has appeared in various print and online magazines in a variety of genres. She publishes Flash Fiction Online and spends a great deal of time wading through the never-ending pile of slush that accumulates there.
Iulian: It's hard to condense one's life in just a few paragraphs, but I am sure you can do it better than most people. Tell us a little bit about you: How and where did you grow up, what influenced you in your decision to become a writer and a publisher?
Anna: I grew up in Reidsville, North Carolina, the heart of tobacco country, deer hunting, and homemade banana pudding (and if you used Jello pudding instead of real egg custard, you would never be invited back for Sunday dinner). I was incredibly shy as a child. It's hard to believe now, but I would sit in the booth at the local Pizza Hut (a very big attraction for a small town girl) and sob rather than ask the cashier for a box to take our pizza home in. Reading became my natural escape from social interaction. I could have a thousand conversations and never say a word. I carried my books everywhere. I barely learned to navigate the handful of streets to and from high school because I was always reading in the car.
I loved to write stories from the time I was very young. In first grade we were asked to write our own fable. I was thrilled to write and illustrate my own. I'd read a very old edition of Aesop's fables I'd found at my Granddaddy's house. I'll never forget my dad's face when he saw my hand drawn copy of "A Man and his Ass". The Man had a lovely little Ass that he took everywhere with him because he loved it so much. After a budding writing career like that, how could I not end up in the literary world someday?
Iulian: Let's talk more about your writing. What attracts you to fantasy and horror? Have you written in other genres as well?
Anna: I love the escapism of fantasy. It seemed like a natural place for my own writing. The more I explored my own voice, I found myself going to darker and more macabre places, hence the branching out into horror. I had difficulty calling my own writing "horror". There is such an innate bias within me that nice women don't write such morbid disturbing tales. But I read an interview with Ellen Datlow discussing why more women don't write horror, and I realized that I needed to get over myself. So what if my brain is a dark, twisty place? I love to process why certain things make me uncomfortable and why. Then I try to use those uncomfortable ideas in my stories.
I write a bit of mainstream fiction, but it still leans toward the oddball. I don't think I'll ever be able to write a story that doesn't make my mother question my sanity.
Iulian: You mostly write short-fiction; have you attempted writing a novel? If no, why not? Is there anything that keeps you from it?
Anna: Ah, the novel. You called me on it. Let me confess that I'm a seat-of-the-pants writer. I've tried writing novels. I felt the need to outline my novels. And I did. The problem is that once I outline, I feel like I've written t
hem and I lose interest. I force myself to sit down and try to crank out a chapter, but it's not good. The oomph isn't there. All the coffee in the world doesn't help.
The thought of pants-ing a novel terrifies me. But there is definitely a novel I'm chewing on. It's begging me to write it. And I want to. But I have to shore up my attention span and the courage to go for it.
Iulian: Now let's talk a bit about Flash Fiction Online. Give us some history about how you got involved in this project and what do you love most about it? And, related to that, why only flash fiction?
Anna: I started working as a slush reader for Flash Fiction Online in the spring of 2012. I realized reading bad stories helped my own writing. By seeing so blatantly how other stories were broken, I became more objective about what I was doing wrong.
My favorite part is finding "that story". I've been known to cradle my laptop like a baby and make happy cooing sounds. It frightens my children so I try to use restraint when they're home.
When Jake Frievald stepped down last year, I decided to try my hand at publishing FFO. I've loved it, but it's been a challenging year. Running a magazine, and a free magazine at that, takes an enormous amount of work. The biggest challenge was (and still is) finding a source of funding. We branched out into convenience subscriptions through WeightlessBooks.com and recently launched our Patreon site. But still, I very much finance out of my own pocket (so if anyone would like to donate so I can go shoe shopping again…). I'm always looking for ways to FFO run as a self-supporting venture while still keeping it true to Jake's original format.
Only flash is another part of the business model that I inherited. When Jake founded Flash Fiction Online, there were very few venues interested in flash. Through Flash Fiction Online, Jake did push further the representation of flash fiction as a modern and very readable literary form. FFO is listed everywhere from about.com to the New York Times. I'm quite proud to carry on the flash fiction tradition. It's a quick and accessible read in a busy world.
Fantasy Scroll Magazine Issue #3 Page 12
