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A collaborative blog by Locus editors, contributors, and other invited guests. The opinions expressed here are solely those of the authors, and do not reflect the editorial position of Locus Magazine or Locus Online.

(Earlier posts end here in April 2010)




Alvaro Zinos-Amaro


Alan Beatts
Terry Bisson
Marie Brennan
Karen Burnham
Siobhan Carroll
John Clute
F. Brett Cox
Ellen Datlow
Paul Di Filippo
Michael Dirda
Gardner Dozois
Andy Duncan
Stefan Dziemianowicz
Brian Evenson
Jeffrey Ford
Karen Joy Fowler
Kathleen Ann Goonan
Theodora Goss
Elizabeth Hand
Cecelia Holland
Rich Horton
Guy Gavriel Kay
James Patrick Kelly
Mark R. Kelly
Ellen Klages
Russell Letson
Karen Lord
Brit Mandelo
Adrienne Martini
Tim Pratt
Cat Rambo
Paul Graham Raven
Graham Sleight
Maureen Kincaid Speller
Peter Straub
Rachel Swirsky
Paul Witcover
Gary K. Wolfe
E. Lily Yu

Roundtable: Becoming Assigned Reading

This is the final spin-off thread of the conversation that has appeared in three previous Roundtables (one, two, and three.)

Karen Burnham

When I first came across the original question, I had in mind the sort of genre books that eventually become canonized classics even in non-genre reading programs. Brave New World, 1984, Fahrenheit 451, and Left Hand of Darkness are the four that first spring to mind in that category. (Heavy on dystopias there!) That moves away from the pop culture aspects of best-sellerdom, and into the ‘we don’t get no respect’ realm of academics. Of course, academia is itself changing–even when I was an undergrad 10 years ago (!) I was able to take a class on Tolkein. And pop-culture studies seem to be taken much more seriously these days (although my impression may be skewed by going to ICFA every year and watching that community grow).

Now, how much good does it do for an author to get onto college reading lists? It seems like an even more select club than the NYT best seller list!

Theodora Goss

I don’t know how much good it does an author to get onto college reading lists. But I’ve been told several times that my stories have been taught in a class, either a literature class or a writing class. I suspect that those of us who write in that strange space between genre and literary fiction get taught more often than we know. I would put Kelly Link there, probably Jeff Ford, Liz Hand, writers like that. Of course John Crowley. My sense is that it’s actually quite easy to cross over into literary fiction, if that’s what you’re going for. Just write very well and submit to literary rather than genre magazines. Even genre magazines like Asimov’s, Clarkesworld, and Strange Horizons are already publishing stories that could easily go into literary magazines. So at that level I think there’s quite a lot of crossover, but that’s the level of short fiction, where you don’t really need to worry so much about marketing categories. Of course, that also means writing in a way that doesn’t quite fit within genre conventions: a straight science fiction story is probably not going to be published in Tin House. An experimental story with science fictional elements might be.

In the writing program I teach for, we often teach classes in genre fiction, but it’s an academic writing program with a literary focus. It’s easier to create a class focused on science fiction or fantasy (which is what I teach) than in the English department. There is a popular class on detective fiction in the English department, but detective fiction became academically respectable before science fiction or fantasy, which are still getting there — but they are getting there! So in terms of the academy, science fiction and fantasy are crossing over.

Siobhan Carroll

I went to my local Borders for their closing sale last week, and saw stacks¬†of unsold copies of books I’d placed on my fantasy syllabus last semester. Curiously, Borders didn’t have copies of other books by these authors, though some are prolific, and have published many more recent novels.

From this I deduce that:
a) there’s a reason Borders is going out of business;
b) for novelists, there may be a real benefit to being on a college syllabus.

If a novel gets on a college syllabus, it boosts the number of books sold in an area and therefore how many of your books a big chain store like Borders or B&N is going to automatically ship into local stores. Because instructors will probably teach your book more than once, the small and steady sales produced from the course may help keep your novel on shelves. If you’re lucky enough to get your novel on, say, 10 college syllabi across the country, I suspect that this could translate into a fairly significant sales boost.

Short story authors, alas, don’t get the same kind of benefits, because short stories are usually distributed in photocopy or pdf form. Furthermore, if students like your story, they’re probably going to have a harder time locating the rest of your work than they would if you wrote novels.

This is one of the reasons I follow Marie Brennan in thinking that submitting your short stories to services such as Anthology Builder can be a good idea: it allows authors to receive royalties from each sale, and also allows new readers to locate other examples of your work easily.


Comment from Robert Nowall
Time December 8, 2011 at 2:49 pm

Speaking long after the event, I have reached the conclusion: Nothing killed my enjoyment of reading something more than having to read it for school.

Orwell? Didn’t like 1984 (read for class), enjoyed Animal Farm (not from class), much later found his collected essays and enjoyed them even more.

Hemingway? Didn’t like The Old Man and the Sea (read for class), did like The Sun Also Rises and A Moveable Feast and his collected short stories.

SF in school? Well, one course picked out the abovementioned 1984, plus other “literary” books—only match with my reading: Childhood’s End. Supposedly it was on “comparative cultures,” or somesuch—I spent a lot of time thinking I could pull better “different culture” books out of my own collection.

Moral for the writer: You (or your estate) might sell millions of copies more if you get your stuff into a classroom—but it’s not going to make anybody like you, or your work. It’s your choice.

Comment from Story of Mina Jade
Time December 9, 2011 at 4:27 pm

How very true. There is nothing that I would hate more than a compulsory read – I guess teachers at school has nothing to do with literature and making students actually love books. Sheer fortune that I do love them on my own accord.

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