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7 entries categorized "Science Fiction"

March 18, 2008

Arthur C. Clarke, dead at 90.

And so we lose another one. Sad.

I got to know Clarke a little back when I was involved in SFWA, to the point where we exchanged christmas cards for a while, and a letter or two, and he was an occasional commenter on the zine I was publishing back then. He was one of those pros that was always accessible and friendly and willing to stop and talk to people (and trust me, not all pros are like that). Fascinating writer and interesting person, one of the key writers who got me involved with science fiction as a kid, so getting to know him later on was a real trip.

I don't think we can under-estimate the impact he's had on our lives and society. Not necessarily for the things the obit writers are going to talk about -- yes, he wrote about things we take for granted today, like geosynchronous communication satellites, but others had those ideas, too. it's that he inspired a generation of people to actually go out and figure out how to build them and make them happen.

In many ways, Jack Kennedy got us to the moon, but it was Arthur Clarke who got the bodies on the ground who could build the rocket when it was time to build it. There are very few bigger names in the field and in society in general. And now he's moved on to whatever's next.

Knowing him, he did it smiling.

February 21, 2008

Andrew Burt for president of SFWA... (last one out please turn out the lights)

Before Even More People Send it to Me:

an indication of how electing Burt will not do wonders for SFWA’s relations with the public, or its potential future membership. And here we pause for a sigh and a sad headshake.

I have to admit that if I were still a member of SFWA (which I'm not), I'd be tempted to vote for Burt. Not because Burt is the best candidate (he's not), or even a good candidate, or even an acceptable one.

I'd consider it because it's very likely to cause SFWA to fall apart and die, and I long ago came to the conclusion that while the field needs a good writer's group to support SF/F writers, SFWA ain't it, and you can't fix it. So voting for Burt might be the way to cause SFWA to go away, allowing the people within the field with a clue to have a chance to start fresh and maybe build something decent. Unfortunately, it looks like as long as SFWA exists, there's not enough motivation to create that new organization and get enough people behind it to make it work.

December 02, 2007

SFWA -- the more things change, the less things change...

Okay, I normally don't (a) pay much attention to SFWA these days, and (b) prefer to let them exist without my continuing interference (I interfered more than enough when I was a member, thank you...), but this is getting insane.

The quick summary: a while back, a member of SFWA sent down a huge set of takedown notices in the name of SFWA, many works of which he had no authority to represent -- including Cory Doctorow, who rightly had a cow (however, in typical Cory fashion, he went so over the top in conspiracy crap he almost made SFWA look the victim... ). SFWA did what it could to undo the damage and banished the committee this came out of.

And now, they've created a new, replacement committee, which is chaired by -- yeah -- the person who committed the original disaster. In this case, though, when all was said and done, it's because the SFWA Bylaws require that the vice president chair all committees, and this person is the elected VP of SFWA. He's evidently not recused himself (forevergodwhynot? Oh, wait, this is SFWA) and I don't see any indication SFWA members are going to try to recall him or force his resignation (or do anything concrete but write letters to Forum and declare they'll never volunteer or do any work for the organization again, although most making that claim never did... ).

In other words, it's your typical SFWA kerfluffle. The only place where I can fault SFWA or it's current President is that given the situation, I would have thought long and hard about re-creating that committee in any form under the current administration, because this was inevitable, and he should have seen it coming. Better to NOT have the commitee for a year or so than create it under this guy's tenure as VP and force the organization into a position of obvious ridicule, which is effectively what's happened. Ohwell. That's almost as sad as this guy not recognizing the problem and -- even if he couldn't formally recuse because of the bylaws, publicly handing responsibility to some other officer and standing away. But if I've read the subtext properly, he's unwilling to do that. Perhaps I'm wrong from way out here in Siberia; I'd like to hope so.

This is covered in public in a few places, most notably Charlie Stross, who has some detail on what's been going on:

Charlie's Diary: SFWA attempts to commit public suicide:

This just isn't funny.

SFWA, the Science Fiction Writers of America, an organisation of which I am a member (on account of my having just a slight interest in writing and selling SF in that country) managed to get into a huge public relations mess back in August/September, when Dr. Andrew Burt, acting on his own initiative as a member of the SFWA e-piracy committee, caused a major screw-up in dealing with Scribd, a text file sharing website. (Details on the whole debacle start here; for SFWA's response see here: more here: if you really want to know everything, Google is your friend.)

[....]

Guess what's happened?

Yup. I am not privy to his thinking, but our dear president and executive have voted to reinstate the old piracy committee, with Andrew Burt to chair it, under the new name of the SFWA copyright committee.

[....]

UPDATE

I've just been made aware that there's an interesting anomaly in SFWA's by-laws. The vice-president of SFWA is officially the head of committees, and it's their job to appoint or remove people from committees. Andrew Burt is, interestingly, the vice-president, and there's no mechanism to remove someone from a committee without going through the vice-president: consequently the only person who could act on our call to prevent him from having anything to do with the SFWA copyright committee was ... Andrew Burt.
p>

and John Scalzi:

How to Enrage Charles Stross:

That said, I think the board choose puzzlingly, to use as polite a word as possible, in its choice of chairman for the new committee, for some of the reasons which Charlie outlines in incendiary but not unreasonable fashion. It would not have been my choice, for those reasons and a few others (the suggestion in the board’s statement that our committee recommended installing the chairman of the new committee is quite obviously in error). I believe the situation was additionally complicated by the fact that the once-and-future chairman is on the SFWA board, and voted on the recommendations, and voted for himself as chairman of the new committee; had I been him, I would have chosen to recuse myself from the deliberations.

I joined SFWA in the mid-80's, ran the Nebula Awards for them for the better part of a decade, worked on the bylaw rewrite for the Nebulas with Ben Bova, and for a short period of time stood for VP of the organization, then decided that it was the wrong thing for the wrong reasons, and pulled my candidacy and then resigned from the organization since I'd decided to stop writing and focus on my computer work. That was about a decade ago (how time flies....), and I wrote about it a bit back in 2004 for those painfully curious. Laurie is still a member, which means occasionally I get my hands on Forum, and once in a while, she lets me see an email or message from the organization, but in all honesty, SFWA's not normally on my radar screen these days (but I will admit to having seen Capo's response to Jane Yolen, but that's as far as that goes in public).

This whole "Andrew Burt" thing, for lack of a sexier name for it, frustrates me massively. Not because of the situation itself -- this is minor, really -- but because it's a clear indication that a FREAKING DECADE AFTER I QUIT over SFWA's overall dysfunctional organization, NOT A DAMN THING HAS BEEN FIXED.

Look, what Andrew Burt did was well-intended but wrong and stupid. That he pulled SFWA's name into it is unfortunate. That he's now (still?) an officer of SFWA and in charge of a committee chartered to handle the things he's already been a major screwup with. That SFWA (the organization and members) have allowed and tolerated that? That they went and created that committee again, knowing he'd be in charge?

Sorry the mind boggles.

SFWA's been trying to turn itself into a professional organization for 20 years now; it's made some progress, finally enough of a staff to make sure things like legal forms and taxes get handled when they need to be. But 20 years later, the same core problems are still core problems: getting involved in the organization is a thankless and sometimes painful task, the number of people willing (much less qualified) to be involved in the organization is tiny, and SFWA insists on embroiling itself in the wrong fights at the wrong time.

SFWA's traditional solution to "how do we become professional" is to start yet another navel-gazing exercise in figuring out how to kick out the non-professional members. My argument was always that the affiliates and the up and coming members are your future and need to be included and nurtured and involved -- it's how you invest for the future. In one of the early "kick out the affiliates" fights, before I sold enough fiction to go active myself, I pointed out that my own work on the Nebulas was a successful model of using affiliates (who aren't trying to scrape by a living in a marginal business like writing fiction yet) to do work for the organization. The response by one high-visibility member was to tell me they'd happily let me stay after they kicked out all of the other affiliates because of the good work I was doing. He honestly thought he was being complimentary to me, but if you think about it a bit, you can see why I found it rather insulting (in a "boy, you keep the kitchen so clean" way).

Think about it -- WGA, Screen Actors Guild, Screen Extras -- these large and successful organizations haven't exactly needed to exclude affiliates to succeed. In reality, arguing about semantics of membership has always been a way for SFWA to let itself think it's doing something while not having to actually grapple with the significant issues the organization should be involving itself in. It's a huge waste of time and energy, and all it does is divide and demotivate the membership.

Laurie was recently down in LA at a screenwriting seminar; another participant was a woman who's a mid-list writer who was looking towards screenwriting and getting into SAG. She's already in RWA and MWA, and Laurie asked her about SFWA. Her response? Why bother -- what do they do for their members?

The list is fairly short, unfortunately. When I was a member, it was basically Griefcom doing interventions over contract problems, and that was as much a few key individuals willing to put the time in and do the fighting in the name of SFWA as it was SFWA itself. There's an emergency medical fund, which is great -- but how many years after creation, and it's still not something you can donate to and get a tax deduction? Hello?

That seems to be the overall attitude towards SFWA from outside the organization. I know I see no advantage in rejoining, assuming I get to the point where I'm selling fiction again down the road. I've heard from members and former members telling me interest in SFWA is way down, that Nebula participation is tanking, and that long-standing members are walking away and letting their memberships lapse. That should scare folks inside the organization, if they still care. SWFA seems to be moving towards irrelevance, if it's not already there.

Sad. Unecessary. SFWA is a better organization than it was 10 years ago, and much better than 15 - but still not remotely a good or successful one. And it still lives on the backs of a very few motivated members who fight through all of the crap (much of it laid on them and the organization by SFWA's own members) to try to fight the good fight. If you look at the list of volunteers SFWA publishes, I'd say half of those people were doing things for SFWA (in many cases, the same job) when I was in the organization a decade ago, and many of them are a good piece older than I am; what's SFWA going to do when the backbone of the organization, which is in it's 50's and 60's and 70's (and in a few cases, older) isn't there any more? Nobody seems to be stepping up among the younger members to take on the mantle -- and that's in good part because the organization makes it painful to those that try, so they rarely try twice.

how do you fix SFWA? Maybe you don't. Maybe you blow it up and start over (maybe Jerry Pournelle was right, all those years ago, about the PSWFA, although he was doing it for the wrong reasons).

But here's how I'd start, if I were stupid enough to try:

First, I'd send out a survey to all former members who left the organization over the last five years -- and ask them why they left, and ask them what it would take to get them to rejoin, and what the biggest problems were with the organization before they left.

Also send out a survey to all members asking them these things:
(1) why are you a member? What do you see as the benefits of membership?
(2) What do you feel are the problems with SFWA that need to be fixed?
(3) List the five non-SFWA issues (ranked in order of importance) that you feel SFWA should be spending it's time and resources on.

Now, I'd expect a lot of hostility to be returned. It won't be fun to read the results or generate data from them -- but it'll give the organization a clear idea of what's wrong and what to focus on, both in terms of how to fix SFWA and what SFWA ought to be working on.

Once you know that -- find a set of officers willing to put up with the crap they're going to get trying to implement these initiatives and go out and implement them.

Here's what I'd suggest, if anyone were asking me:

First: kill Forum. Serves no useful purpose any more. Hasn't for years, and only creates a place for members to rip each other. Nuke Bulletin. Whatever it brought to the organization in visibility or reputation or whatever over the years, it's done. Instead, Bulletin today flags SFWA as an organization with antique thinking, it's a discincentive to join. Move the NAR to web-only, no reason to waste paper on that any more.

Second, create a new publication, aimed at the members. Written and edited by officers and committees, talking about the actions and issues of the organization. Some of that is done in Forum today, but it's such a small part and so boring that it's hard to believe anyone cares or reads it. Create a place where the organization (as represented by it's elected officers and volunteers) creates a dialog and starts a conversation with the rest of management. Forum's not a dialog, it's an extended high pitched pitiful whine.

Third, embrace affiliates. Make it easier for them to get in, not harder. Create a third tier of membership, in fact -- but don't use my names for the categories, they suck.

Active Pro: Published one novel or three qualifying shorts in the last three years, or can show earning $10K in writing-related earnings in three years (yes, that bar is set painfully low. welcome to the wonderful world of fiction writing).

Inactive Pro: Published, but not currently qualified for Active pro. Yes, this implies that if you stop publishing, you move down a notch. Get over it. Anyone with one or more qualifying publication credits but not enough for Active is in this category.

Affiliate member: anyone who wants to join. Think of it as (a) outreach at prospective pros, (b) a source of income to fund operations and initiatives, and (c) a source of labor to actually get things done within the organization. Yes, this may mean you'll have members who join just to get into the SFWA suite. So? How is that different from, oh -- me, who sold five stories in about 12 years? Oh, yeah, I remember, I did such good work for the organization they'll let me into the suite... (snicker). And give me a nice plaque (which, actually, I still display proudly... ).

Elected officers and committee chairs MUST come from the Active Pro category; Inactive pros can't be elected to office, and run committees. Committees can be from any category, but at least one committee member much come from Inactive and Affiliate. No more than 25% of any committee can be seated from Affiliate.

This structure means the jobs that set policy and direction are done by people who are active, working pros -- not members who published a novel 12 years ago.

it also assumes that things get fixed so members WANT to get involved; be aware this won't be easy, since it implies taking some of the most noisy and cantankerous (no, abusive) members and putting a sock in their mouths; perhaps choosing to make them ex-members so the rest of the organization can get something accomplished. Have fun -- anyone with the guts to tell some of them to shut up will get a standing ovation in the SFWA suite. Honest.

Embrace the fannish side (like SFWA suites). One of the big fights within SFWA is between the "serious" members and the "we're just here for the convention invites and SFWA suite" side. They CAN co-exist. Honestly, some members are in both sides at once.

Think of the fannish side as outreach, create committees to handle it, and consider it part of making SFWA an organization members want to be a part of. It works in other organizations. And membership fees and volunteer labor (assuming SFWA can fix the toxic environment volunteers get shoved into) are good to have.

It wouldn't be easy. It might not be possible. I'm not sure the kind of people who COULD do it care enough to try any more. And even if they do, does it matter?

Honestly? Probably not.

July 15, 2007

Still Not Fannish Enough (Whatever)

Still Not Fannish Enough (Whatever):

SF fan writer Mike Glyer, in his fanzine File770 (.pdf link), leads the second wave of fannish horror that a professional writer (that would be me) has somehow been nominated for the Best Fan Writer Hugo (the complaint starts on page 17). His horror is amplified by this fellow, who feels I should withdraw from the field entirely.

In a word: No. I have no intention of withdrawing, because there's no good reason to, and lots of good reasons to stay in. My concerns about the fan/pro schism specifically are largely assuaged by a look back at the history of the award and the discovery that not only am I not the first person to be nominated for this Hugo after his book was nominated for the Best Novel Hugo, there was a year in which a fellow (Piers Anthony, if you want to know) was nominated for Best Fan Writer and was the author of a Best Novel Hugo nominee. The response to this particular line of argument seems to boil down to "well, it hasn't been done recently," but inasmuch as perennial Best Fan Writer winner Dave Langford won a "pro" Hugo in 2001 and was nominated for another in 2006, I don't think this argument has much merit.

Some things never change.... This all sounds similar to what happened when I got the nomination for Best Fan Writer at Noreascon 3, and OtherRealms made it for Best Fanzine that year (and there were similar rumblings earlier when OtherRealms was close to making the cut, and there was serious discussion about defining it as a semi-prozine rather than a fanzine).

Only back then, it was because so much of the work involved was -- gasp -- online, and not really part of "real" fandom, whatever that is. I'm happy to announce that I finished above No Award in both categories that year, which tickled me pink -- and still does.

The parameters of the discussion change, but the underlying reason for it doesn't: it's old-guard vs. new-guard. And if the old-guard guys like Mike were honest with themselves, what John's doing is nothing different than what Mike Resnick's done for the last 30 years or so, only he's doing it online. I don't think anyone anywhere in fandom would consider Mike anything but one hell of a pro AND one hell of a fan.

It really sounds, honestly, like Mike and a few others have decided that John hasn't "paid his dues" enough yet, or something.

John -- you're doing the right thing here. Relax, have fun, and just hope you finish above No Award. If you did, it's a victory. And just enjoy it, and don't worry about the others. It's ultimately about politics, and people who want to maintain the old (and dying) "traditional" fandom, while fandom moves forward into the future with or without them.

And yes, you're fannish enough. Well, for most of us, at least.

September 04, 2006

Voile et Vapeur - 9/4/06: LAcon IV report (long)

Voile et Vapeur - 9/4/06: LAcon IV report (long):

Just before I drifted off to sleep, about 2am, I realized that the
four fiction winners this year were Spin (one of the best
SF novels I've read in years), Connie Willis (the Hugo-winningest
author of all), Peter S. Beagle (author of the classic The Last
Unicorn)... and me. Omigod.

Later, I awoke in the night and made my way in the dark to the desk,
to touch the Hugo, to make sure it was still there.

And well earned and deserved, too. Congrats, David!

August 29, 2006

8/28/06: Hugos there

8/28/06: Hugos there:
As most of those reading this already know, my story "Tk'Tk'Tk" won the Hugo for Best Short Story. I am, in brief, stunned. I really, really didn't expect this. I literally sobbed with joy when I received the award (from Harlan Ellison, no less), I spent most of the next twenty-four hours clutching the Hugo and grinning like a maniac

Congrats go to David Levine for the Hugo win. I, for one, am not surprised. Although between this and a quick mention of Potlatch I find I am suddenly, urgently, missing both my writing and going to Orycon, which I used to never miss (until this project I'm trying to separate from took over my life). It won't happen this year, but I can start planning for next....

Maybe there's hope for me yet.

June 24, 2002

The Dea(R)th of Science Fiction

Growing up, I was a skiffy junkie. If it was Science Fiction or Fantasy, I read it. Cut my teeth with Ray Bradbury and Arthur Clarke (who I've been lucky enough, though my work with the Science Fiction Writers of America to start an intermittent correspondence with). Damon Knight. Terry Carr. Michael Moorcock. Tolkien. Heinlein.

I used to hang out in front of the local bookstore on the days the new Analog or Fantasy & Science Fiction was due, and make them unpack the magazines. I read the entire SF collection of my town's library -- every book. To say I was a voracious reader is to put it mildly, and you can thank (or blame) Ray Bradbury. I discovered him early, and he set my reading tastes for most of my life.

It took me a long time to realize few writers are as good as Bradbury. Hell, I wrote some SF, and I never pretended. But I always tried to write stuff that I hoped the writers I respected and the authors I've gotten to know over the years wouldn't hate. Mostly, I think I succeeded.

So if SF was such a huge part of my life, how in the hell did we get to the point where I'm not reading it any more? Or almost none?

I've really pondered that, because I've tried to understand why I lost my interest in the field -- I stopped writing, I finally quit SFWA, and I've more or less dropped most connection with SF and SF fandom. Was it me? Or was it the fiction?

This issue is important to me, both to understand myself, but because I see my distancing from the field as symptomatic of the larger problems within the field. Magazine readership continues to go down, the demographics (according to Locus) continue to age, and SF readership simply continues to, overall, at best stagnate. Big books like robert jordan still sell big -- but the midlist is gone, and the journeyman writer is all but dead. You have to get big fast, or you have real trouble selling your books -- so you either fade, or you end up in the sharecrops, doing the latest Star Wars or Star Trek or D&D book, writing someone else's book in some other universe.

I admit to being part of that shrinking demographic. I gave up on short fiction years ago, and no longer subscribe to any of the magazines -- my short fiction consists of Gardner's (http://www.amazon.com/exec/obidos/ASIN/0312288794/qid=1024985394/sr=8-1/ref=sr_8_1/104-9971132-5694369) and Ellen's (http://www.amazon.com/exec/obidos/ASIN/0312290675/qid=1024985442/sr=2-2/ref=sr_2_2/104-9971132-5694369) year's best books to steer me towards the highlights of the short fiction market; and in reality, I find I skim 2/3 of the book as things that simply don't connect.

I always preferred longer works -- I love the complexity of a novel over the intensity of the short fiction -- but even so, it didn't used to be this bad.

Even in longer fiction, I find it tough to find stuff I like. In general, I hate series books (this isn't new -- I wrote about this back in OtherRealms in the 80's, back when the "three book novel" trilogy bloat started) -- but today, the big books are part of seemingly ever-growing series. Scott Card's Ender's game started out as three or four books. How many is it now? Robert Jordan's series has given up any pretense of ever ending. Ray Feist (someone I know and consider a friend), at least, has tried to write multiple related series instead of a continuing, unending mega-novel -- but I still find it unreadable these days.

I'm not talking "good" or "bad" here, but personal preference (although to be honest, a lot of the series books could stand a good editor with a blue pencil. Many times, longer doesn't mean "more flavor and complexity", it means "flaccid and bloated" -- but thick books sell better than thin books, because consumers think they're getting more for their money, and series books sell better than indiidual books because the series reinforces sales of other volumes, and most readers prefer revisiting universes they are famililar with. I don't -- in this case, I'm clearly not typical of the typical reader, so I'm not right, I'm out of touch.

So SF moved in a direction I didn't want to follow -- the series drives the field now (for many reasons), and that doesn't work for me.

And with the death of the midlist, the kind of book I enjoy has more or less died. While I'm a huge fan of Gene Wolfe and Dan Simmons -- in all honesty, many nights I'm just not up to trying to wrap my brain around New Sun or Hyperion.

many nights, I just want to curl up with something from Steve Brust or James White -- mind candy, entertainment, comfortable fluff. enjoyable, well-written, but not deep (actually, I do Steve Brust a disservice here. His stuff has layers which my tired, numb brain can happily turn off and enjoy his stuff at a shallow level...)

It's damn hard to find stuff like that today. most of that kind of book lived in the midlist. The midlist has been eaten alive by changes in the industry - and a big chunk of what used to end up in the midlist are now titles published in one of the sharecrop universes. authors that used to publish their own 50,000 copy titles are finding they either join the Star Wars universe or get a real job.

there are exceptions, of course. Authors like Ken MacLeod (http://www.amazon.com/exec/obidos/ASIN/0765340739/104-9971132-5694369, http://www.amazon.com/exec/obidos/ASIN/0812568583/ref=pd_sim_books/104-9971132-5694369) and Eric Nylund (http://www.amazon.com/exec/obidos/ASIN/0380792923/qid=1024986532/sr=1-3/ref=sr_1_3/104-9971132-5694369, http://www.amazon.com/exec/obidos/ASIN/0380796147/qid=1024986572/sr=1-4/ref=sr_1_4/104-9971132-5694369) and Greg Egan (http://www.amazon.com/exec/obidos/ASIN/0061057274/qid=1024987386/sr=1-7/ref=sr_1_7/104-9971132-5694369) have written some really kick-butt fiction, and I've grabbed more of their books for my summer vacation reading.

Ditto some of the older writers I've enjoyed. While I gave up on David Brin and Scott Card years ago, and I even find Vernor Vinge a bit hard to finish, authors like Greg Bear (http://www.amazon.com/exec/obidos/search-handle-form/104-9971132-5694369, http://www.amazon.com/exec/obidos/ASIN/0345435249/qid=1024986708/sr=2-3/ref=sr_2_3/104-9971132-5694369) and Greg Benford (http://www.amazon.com/exec/obidos/ASIN/0380790564/qid=1024987158/sr=2-1/ref=sr_2_1/104-9971132-5694369, http://www.amazon.com/exec/obidos/ASIN/0446608904/qid=1024987213/sr=1-7/ref=sr_1_7/104-9971132-5694369) and Lois Bujold (http://www.amazon.com/exec/obidos/ASIN/0671578855/qid=1024987285/sr=1-10/ref=sr_1_10/104-9971132-5694369) are still consistently interesting to me.

But I'm finding it tough to find stuff I read. Even of the books I buy because I think I'll like them, my rate of reading to the end is maybe 50%.

(as an aside -- I was originally planning to write reviews of all of the above referenced books -- and I now think that's a silly thing to do, given how long it's been since I read them. I can't do them justice, so I won't try. Just assume that because I mention them, I liked them enough to recommend them...)

Which leads me to the third, and most important reason why I read so little SF.

Me. when I started doing OtherRealms in the 80's, and later on when I was reviewing books for Amazing, I had to teach myself to read critically, not just for enjoyment. It's something you need to do to become successful as a writer -- because to write good fiction, you have to be able to not only recognize good fiction, but tear it apart and figure out what makes it tick.

And for better and worse, I find it tough to turn off that critical eye now, even when I just want to relax. Where I was (as David Hartwell once labeled me) hopelessly omnivorous as a younger reader, as I grew up and matured, I found that I just didn't tolerate sloppy writing any more. I've gone back to my early days and tried some of my favorite writers -- and while some (Bradbury, Zelazny) are still attractive and interesting, an amazing number of them (who shall remain nameless) didn't.

So the golden age of SF is twelve. And as I grew older, I became less forgiving to the faults of the field, while at the same time, the field grew in ways I just didn't like.

Science Fiction has changed a lot since I first discovered it. Today, the media series and the long (bloated) series books rule. And I've changed, going from a pure entertainment reader to someone looking for well-written entertaining books. and unfortunately, those two changes have enlarged the distance between what I want and what they publish. but if I look at what I have read -- it's proof that there's still stuff in the field I find worth reading.

It's just increasingly tough to find....