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    Interview: Sep 7th, 2009

    Christian Lindke

    You've talked about how your experience at a job that gave you time to write on company time aided you and that you were able to write a good number of fantasy novels—writing, kind of, the 'bad' out of you, if you will—but I also wanted to know that, you know, for a period of time you volunteered and were editor-in-chief at the sci-fi and fantasy magazine at BYU, The Leading Edge, and obviously, as a magazine, the primary story being published in that is the short story, and I wanted to ask, how a) you thought that writing short stories and reading short stories helped you hone your craft, and b) what you think about kind of the dying outlet for burgeoning writers to have their short stories published.

    Brandon Sanderson

    Those are both excellent questions. Some interesting things are happening in the short fiction market, and it's in a very big position of transition right now. I've heard a lot of publishers talk about it, and there are people who are very optimistic, who they say, you know, "The short story form is not going to die. People like reading it. We just haven't yet found the new transmission method that is going to get them to people." But some things happened to the science fiction and fantasy market during the 70s and 80s that I think really changed the way fiction—particularly in our genre—reached its audience. I think the mainstreaming of science fiction and fantasy to an extent—I mean, this is Geekerati Radio; we're talking mostly to geeks and geek topics—but you'll notice that since the 70s, progressively geek culture has invaded mainstream culture. Nowadays, if a fantasy or science fiction film comes out, the general public goes to see it and doesn't even think twice about it. That wasn't the case before Star Wars; it wasn't like that. And I think this mainstreaming that, this building on the whole gaming aspect, with RPGs and all this, where there was a larger...even those who weren't mainstream, who were the kind of the geek culture, like I was when I was growing up in the 80s, we had enclaves, because we had things we could do, and it was easier for us to create our little enclaves. The big science fiction conventions started because getting people who are interested in science fiction together to chat about science fiction was hard to do without the internet, without, some of...you know, podcasts, and things like this—it was very hard to find people with like interests, and so when you did, you all got together with these conventions. And for us, I think that there were more people that we could find, there were more activities...it was just...it was easier to be a geek in the 80s than it was in previous eras, and mixed on top of that, the paperback novel, in science fiction and fantasy, kind of came into its own, with the publishing houses like Del Rey and Tor and Ace in the 70s and 80s suddenly producing lines of science fiction and fantasy targeted an adult audience. What you saw is, really, the science fiction novel overtaking the short story. My generation didn't grow up reading short stories, in general; my fantasy grew up reading, in fantasy, you know: David Eddings, and Tad Williams, and Anne McCaffrey, and Barbary Hambly and these people who were writing the novels. And so, if you look at me, I didn't get into short stories until I had already long been a fan of the novel, which I think is backwards from the previous generation.

    I got into short stories when I was in college, and it was partially because of the magazine. And the magazine did a lot of things for me. One of the things was that it was a nice—again—place where a lot of people with similar interests in me were congregating, and we were talking about fiction, and about science fiction and fantasy, and about what made good science fiction and fantasy, and we were able to read slush from around the world because it was a paying market, and writers, we are all desperate to get published, and so as long as something pays, we'll probably submit to it. So, The Leading Edge, though, being a BYU magazine, didn't actually publish BYU student stories. It existed more as a place to practice being an editor, so to speak; it exists as one of these things that is kind of like, not really a class, but an economist [?] club that is funded by the university to give people experience with editing and managing and learning [?] express and [?] programs, and so it's not actually student work that's getting published. You read a ton of terrible stories by authors, and boy, reading a ton of terrible stories teaches you a lot about what not to do. You start to see firsthand the clichés that show up over and over again. And, when you're that age—particularly older high school, younger college student—you're thinking that a lot of your ideas are new and original, until you read and discover that no, half of these stories are all wanting to tell these same ideas. If I had a dollar for every time we got a story that ended with "And, they turned out to be Adam and Eve"—that's a great cliché in the genre now. I had no clue, but I learned it firsthand by reading, you know, a dozen or two stories—so I guess if it were a dollar for each one, I would have enough money for pizza—but still, it was fairly common that we got stories like that. So, I really enjoyed that aspect of it, and it helped me as a writer, and it also taught me to love the short story genre, as we occasionally would come across these gems, and I had to feel like what an editor felt like, sifting through all of this, reading, you know, yet another story poorly written where Adam and Even turn out to...you know, the end of the story is that they're Adam and Eve and they found the Earth. Or, reading yet another poorly-done time travel story where someone kills his own father on accident, um, and that's...or, you know, ends up becoming Hitler, or one of these stereotypical things, reading one of these, and then sifting through that, and then a gem pops out—a beautifully-written story that says something meaningful, has engaging characters, really pulls you into a world and makes you feel like you're there—it like glows on the page after reading all of these things, and I understood, "Hey, this is what it's like to be an editor; this is what the editor is feeling when they're reading through the slush pile, and this is what I want them to feel when they hit my stories. So how can I do that? What do I really need to do in order to achieve it?"

    What is going to happen to short fiction? I don't know. There are people who are much more expert than I at this sort of thing. I have been very curious at these free-distribution-on-the-web models that we've seen. The first big one was called Sci-Fiction; it was run by the Science Fiction Channel. And, it went..they actually eventually canceled it; they did it for a couple of years. I was hoping that an ad-supported model that was bringing renown to the Science Fiction Channel would be enough to pay for a short story, which really doesn't take—if you're cranking it on the internet—doesn't take a whole ton of resources. You pay the author, you pay someone to edit it, and you maybe get a little bit of art. This is what Tor.com is trying right now in order to draw people in, and I think it works wonderfully, but I don't see the numbers on it. Several pay subscription e-zines have come around too; Intergalactic Medicine Show by Orson Scott Card; Baen's Universe which just, actually, closed its doors unfortunately, and I was hoping that those would go along, but I think one of the problems with the internet is people...it's been established that, if it's on the internet, that it should be free, which...we haven't been able to get beyond that, and some things, the operating costs are just too high for it to be for free. So I don't think that the webcomic model—where you can, you know, print a webcomic and then have people come every day, read it, and then draw ad money and things like that—is going to work for short fiction, because short fiction is too long, and the costs are too big. I was hoping it would work. Maybe if there...but you would have to, like, print a page every day of a 70-page story, and I don't know if that would be enough to keep people coming back. So, I'll be very curious to see what happens. I enjoy reading it, but you know, I generally read my short fiction when it's recommended to me and I go pick up a specific issue, because a story I know in Asimov's happens to be really good, or an author I know happens to publish an Asimov—I see him on the front—or I pick up the Year's Best by Garner Dozois or David Hartwell, and just read what they have collected as the best science fiction and fantasy of the year.

    So, I'm not an expert. I do hope that the genre—the medium—stays around, because it is a nice way as an author to practice, and to kind of do an apprenticeship. Once upon a time, if you wanted to break in, it was 'the main way' to break in, was to do short fiction for a while, get published in the good short fiction market, and then eventually, you know, an editor would come knocking and you would give them your novel idea. It doesn't actually work that way any more. It's still a potential way you can do it, but that's not the norm any more, I don't think; I think more people are getting published just off of their novels—straight submissions to agents or editors—than are getting published through a long apprenticeship in short story magazines, and that's certainly how it was for me. I didn't practice short stories until I was much older; I was much more practiced...even still I feel I'm a better novelist than I am a short story writer. I'm not terribly confident in my short story, though I do have one that you can read just on Tor.com for free—maybe you guys can throw that up in the liner notes, that people can click on and read—which has had a good response, but I think I'm primarily a novelist.

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