digital marketing - Gollancz

Over the last few weeks this blog has been focusing on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint has had a turn, the rules are made up and the points don’t matter. I have so far blogged about Tor UK, Orbit UK and HarperVoyager. This post is about Gollancz.

GOLLANCZ

Website: Gollancz has a section on the Orion Publishing Group’s website (which they’re owned by). When I first started this blog, this part of their website, and their blog, were not updated very often. In recent months however, particularly as it’s their 50th anniversary year, Gollancz have hit their stride with their webpage and blog. On their main page you can find their book of the month and author of the month (including links to their previous books so you can buy them, the author’s website and information about them), a bestseller list specifically for their titles with clickable links to further information and ways to purchase them, a list of their upcoming events and a nice link to a webpage for their most popular series, Charlaine Harris’ Sookie Stackhouse/True Blood books. They also have a ‘What’s hot’ section that contains recent news: this week, brilliantly, they’re in cahoots with National Blood Week – cross-promotional AND charity points, they’re also showcasing a trailer for their book of the month, Songs of the Earth by Elspeth Cooper, a link to the Masterworks Reading Project, (old) news about Ian McDonald’s Dervish House being shortlisted for the Arthur C Clarke Award (won by Lauren Beukes’ Zoo City) and a celebration of the last 25 years of the Arthur C Clarke Award (or should that be the first?). Gollancz does have a young adult page, although I’m just focusing on adult fiction here.

Blog: also on the Orion website, you will find the Gollancz blog. If you click through their archive, you’ll see there was a post in November, the next post wasn’t until April, and then you get to the May tab, and you’ll understand what I mean about a lack of activity until recently. Every day for a week in May they celebrated 50 years of Gollancz with a new blog post (I’m sure they did more than write a blog post, 50 years is a long time). They had a readers’ vote for their favourite titles, which is now closed, but this flurry of activity shows what can be done. However, I imagine it took a lot of time and resources, and it’s possible they’re another small team (the entire team seems to have written a post for this seven day session) that can’t afford to do this all the time. So, 50th anniversary points (admittedly, very particular to Gollancz). And it’s a shame that more can’t be done with the blog, because it is a great way to connect with readers, if they allowed for comments, and Joe Abercrombie’s post on George RR Martin shows its potential for entertainment. But that’s where, for Gollancz, Facebook comes in.

Facebook: this is where the digital marketing really happens for Gollancz. Their main technique is to run competitions for readers to win their titles (admittedly, this was more prevalent a few months back). Many competitions. They have all the competition points. It would be really interesting to find out how these competitions affect sales, if at all. I really hope they help sales, I think it’s a unique way of marketing, and great for smaller budgets (although the postage and packaging costs must be immense). You can really see the dedication of the marketing team (person?) here. They also post YouTube links to author interviews and trailers, flag up signings, reviews, post pictures, links to other relevant information they feel their readers will find interesting (points for not just talking about themselves), news about their award nominations, and just a whole host of other links and comments. Some stats: 1859 people ‘like’ their page, on average they post 2-3 times per day, and they have 1 sister Facebook page, Gollancz Dark Fantasy, which has 3526 ‘likes’ (and does much of the same, only with more of a focus on Charlaine Harris).

Twitter: here, as well as the beauty of hash tags, there is more of the same frequency of posts and topics as on the Facebook page. They have a Gollancz, Gollancz Dark Fantasy and a temporary account for their 50th anniversary. They also have mystery book quotes for followers to guess, tweets about events they’re currently attending (like the David Gemmell Awards – topical), and are just generally entertaining. They definitely know their way around a hash tag. Hash tag points.

Digital advances: Orion has a ‘Reading room’ area of their website, which is an ace way of promoting your titles, taking a cosy concept but making it digital. Here you can access sample PDFs of some of Gollancz’s titles, like Charlaine Harris’ Dead Reckoning. Cosy concept points.

Recently their author Charlaine Harris became the latest writer to exceed the 1m Kindle eBooks mark. So they’re doing well here, particularly with this author (the TV series possibly helps).

Gollancz have a digital publisher, Darren Nash, who promised the following back in August 2010 for Gollancz’s digital future: ‘enhanced e-books and apps, backlist projects, building virtual communities and developing online interaction through social media such as Twitter and blogs.’ I would definitely say that social media (barring the blog, perhaps) has taken off and looks to be going very strong. However, apps and enhanced eBooks haven’t yet shown their faces. In a blog post, their author Joe Abercrombie did mention a meeting with his editor that resulted in an absolutely amazing sounding eBook package, but I can’t find any further mention of it. I’m not sure about issuing ‘just around the corner’ points, but, what the heck, I’ll do it anyway.

Oh, and Amazon.co.uk shows that they have 391 eBooks published by Gollancz. That’s a good number.

Extras: the Orion Publishing Group has a general YouTube channel where you can find Gollancz trailers and author interviews. I can’t find many uploads by Gollancz, however, but it’s good that they’re utilising Orion’s page.

Conclusion: contain yourself - an exciting summary will follow shortly. Disclaimer: none of the imprints will win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of someone trying to propose just as their loved one discovers a beetle doing backstroke in their soup.

digital marketing - HarperVoyager

Over the next few weeks this blog is going to focus on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint gets a turn, the rules are made up and the points don’t matter. This post is about HarperVoyager UK.

VOYAGER

One thing that I have not taken into account so far with blogging about Tor UK and Orbit UK’s digital marketing is business models. The term ‘business model’ tends to make my brain prepare to be imminently baffled, but what I mean by it here is pretty basic – the number of staff within the imprint and their roles. In Voyager’s case, having done work experience there, I know that there is a grand total of two staff members dedicated purely to this Science Fiction and Fantasy imprint, one of which handles the majority of the digital marketing. Solo points to her before we even begin.

Website: like Orbit, Voyager’s website is really a blog. While Orbit’s site is maintained in by a triumvirate of worldwide imprints (note: not as evil as it sounds), Voyager’s is hosted by HarperCollins and maintained mainly by one dedicated Assistant Editor, and a few guest bloggers. There tends to be about one to two posts every fortnight, and they can consist of: reviews from HarperCollins’ staff members of Voyager’s books, an huge ongoing campaign for George RR Martin’s A Song of Ice and Fire (HBO’s TV adaptation - Game of Thrones, new covers, eBooks and the date for the upcoming, long-awaited A Dance With Dragons), countdown widgets for upcoming titles for blogs and websites, trailers, occasional book of the month (book of the every other month?), cover launches and a heads-up for their new venture into YA fiction, a post on their physical consumer marketing campaign for Peter V Brett and a few non-marketing related posts, which arguably is good digital marketing in itself. The blog/site also contains links to other sites and every post can be commented on – so community points to them.

As a side note, Voyager’s sister Australian imprint has a great site – complete with blog, online community, search engine, news and events listings and the tantalisingly titled ‘fun and games’. Who can resist such a tab?

HarperCollins hosts a page for Voyager on their main site. This contains links to the Voyager blog, as well as the Voyager Twitter feed, information about authors and their titles and upcoming books, and press releases. It’s not as updated as their blog, and while it is useful, it feels a bit more perfunctory, and not as welcoming as Voyager main. I will allot practical points for this.

Twitter: their Twitter page contains links to their blog posts as well as plenty of perky communication with fellow tweeters and readers, particularly considering there is only one person behind the tweets. What I like about this (warning: personal preference) is that HarperCollins is a hugely commercial publisher but the Voyager feed feels personal. Points for letting people know when they’re going on holiday, or that they left their pen back at the office when they wanted to mark proofs on the bus.

Facebook: I can’t find a Facebook page for Voyager UK. If there is one and I’ve missed it, I’m sorry (although no points for hiding well).

Digital advances: thanks to HarperCollins’ dedication to all things digital, Voyager has a healthy backlist of digital titles available, although the books don’t have any additional interactive features. They get extra goodwill points however for taking advantage of the digital format for the benefit of their customers. George RR Martin’s beasts tend to be unbindable and a few have been released in two parts – but their digital editions have been combined. Voyager even went a step further and bound the whole 3000 page series so far together in one digital volume for a relatively cheap price.

Blog: see ‘Website’.

Extras: Voyager has a monthly newsletter and a YouTube channel, but it hasn’t been updated for a while. Points to them, but not as many as for a well-maintained channel (admittedly these values mean very little).

Conclusion: contain yourself - an exciting summary will follow after all four imprints have had their turn. Disclaimer: they will not win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of someone delivering urgent information to someone on a bouncy castle.

digital marketing - Orbit

Over the next few weeks this blog is going to focus on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint gets a turn, the rules are made up and the points don’t matter. This post is about Orbit UK (and USA/Australia too).

ORBIT

Website: Orbit’s website is its hub for marketing, and what a hub. It streamlines the UK/USA/Australia imprints into one, accessible source of information. As well as containing its publishing schedules and author profiles (with links to websites and details about its titles), Orbit’s website is basically a very well-maintained blog. The site also contains a blog roll and links to SFF sites, and allows for comments on each post, maintaining a healthy online community. In a digital session for my MA Publishing, Orbit’s site was used as a prime example of what good digital marketing is. Assuming that our tutor must be an SFF fan, I approached him after class preparing for a full-on geek-out, only to be met with a firm, ‘Oh no, I’m not a fantasy fan. I just really like Orbit’s website.’ So it’s that good. Whether it means to or not, it’s catering to people outside of the usual ‘fan’ spectrum on its content alone. It contains, among other things, guest posts from authors (not always from Orbit’s own list), editors, editorial assistants and the very excellent, always enthusiastic, Art Director Lauren Panepinto. Just this week, for example, there have been the following posts: fantasy author Helen Lowe waxing lyrical about why she loves martial arts; Lauren Panepinto launching the covers for Michael J. Sullivan’s The Riyria Revelations series (‘Bam! Can you say ‘EPIC’, people?’ – that’s what I mean by enthusiastic); Senior Editor Devi Pillai (USA) announcing the release of Brent Weeks’ straight-to-eBook-and-audio Perfect Shadow from Orbit’s short fiction venture; Mark Yon from SFFWorld continuing his guide to Jim Butcher’s Dresden Files in the run up to the release of Ghost Story; Lauren Panepinto again, this time offering Simon Morden’s ‘magic eye’ book covers as wallpaper (which also forms part of Simon Morden’s digital marketing campaign); and finally Simon Morden himself explaining why London is the perfect setting for his post-apocalyptic trilogy. And that’s all just in one week. It really is a smorgasbord of information. There aren’t enough points for this, so I’m just going to say ‘many’.

Twitter: Orbit UK/USA/Australia have a joint Twitter account, which fits with their ‘international imprint’ shtick. Most of the staff who frequent the blog are on there, like UK editorial assistant James Long (716 followers) and commissioning editor Bella Pagan (528 followers). Here’s where the US/UK/Aus staff members communicate and re-tweet each other – forming a joint community by spreading stories from the blog, good reviews of Orbit’s author’s titles and Orbit’s latest marketing campaigns. ‘Community’ points and some general cool points thrown in for the publishing staff building up more followers than some authors.

Facebook: Orbit has a Facebook page, again it’s a joint one between the three worldwide imprints. 2,221 people like it. Here it puts up its website/blog posts up on the wall. As well as good reviews from bloggers for its titles, and blogged interviews with its authors. More ‘community’ points to Orbit, although there isn’t much interaction between the staff and readers on the wall. Orbit also has a Facebook page exclusively for its eBook short fiction (1,119 likes). Digital points.

Digital advances: Orbit short fiction – as already mentioned, Brent Weeks’ Perfect Shadow is eBook and audio-only. In the same manner, Orbit will also be publishing, amongst others, Jennifer Rardin, who sadly passed away last Autumn, and some of her short stories. There’s also a newsletter you can sign up to. This is a really great venture, but I wish it had chosen something other than a robot as its logo, purely because Angry Robot Books pretty much has robots covered, and Orbit’s store would stand out so much more from the competition if it had a logo that was more humanoid. There is more than one kind of dance.

Blog: see ‘Website’.

Extras: Orbit has its own YouTube channel where its videos include ‘making-ofs’ (like for Simon Morden’s optical illusion masterpieces), as well as book trailers and interviews. I’ve posted this before, but bloody hell the book trailer for Kate Griffin’s A Madness of Angels is good. Let’s enjoy it again together. Points galore. Orbit also has its own flickr account with book signing photos – although they’re three years out of date. There will be no points for this.

Conclusion: contain yourself - an exciting summary will follow after all four imprints have had their turn. Disclaimer: they will not win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of a news reader who is desperate for the loo.

digital marketing - Tor

Over the next few weeks this blog is going to focus on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint gets a turn, the rules are made up and the points don’t matter. This post is about Tor UK.

TOR

Website: the imprint has a section on the Pan Macmillan website, but it works as a shop rather than a marketing tool (although it does contain a list of author events). This is unique for a publisher – to sell direct to customers and cut out the middle Amazon-man, so points to Tor for that. If you select a particular book by an author you can then go to a page specifically about the author, and subscribe to certain RSS feeds. More points.

Twitter: this site is Tor’s hub for marketing. Events will get mentioned, review links posted, pictures of tours, author ventures plugged (like China Miéville’s short story 'Covehithe' in the Guardian not long ago). Editorial Director of Tor Julie Crisp is always present on Twitter, tweeting their latest campaigns, communicating with readers and providing relevant links, whilst not being overly pushy about the books she’s publishing, so kudos points for that last part. Tor trends topics like #towelday – 25 May is Towel Day in memory of the great Douglas Adams - really taking advantage of what Twitter can do. Tor UK is on there too, obviously tweeting about subjects relating to their list, but with personality and, dare I say it, vim. They’re also using Twitter to advertise their competition in cahoots with SFX magazine for cover designing. More points to them.

Facebook: I can’t find their Facebook page, so I’ve assumed there isn’t one, or it’s nigh impossible to locate. Correct me if I’m wrong.

Digital advances: Amazon’s Kindle store lists 81 of their titles, and it can be assumed that this list is going to grow. They’re all ‘vanilla’ at the moment, however, in 2009 an anniversary iPhone app for Douglas Adams' Hitchhiker's Guide to the Galaxy was created that had plenty of special features. A Bookseller article from February 2008 details how Tor gave away free copies of some of their titles in eBook form to advertise a ‘website’, but it provides no further detail other than saying that readers were, understandably, pretty well-pleased. There are no other articles in the Bookseller that talk about Tor’s digital initiatives, and none that I can find elsewhere. It was a great start – but did it end here?

YouTube: ADDITION - When I wrote this I hadn't found Tor's YouTube page, which is part of Pan Macmillan's page - you can see trailers, interviews, TV appearances from their authors, and more. Points to them, and a few more because I missed it the first time around.

Blog: N/A

Extras: Tor UK do have an e-newsletter that you can sign up to, which is great, but it’s not released nearly as often as I’d like to receive it. Genre for Japan: the imprint offered a year’s supply of their books for the cause. Charity points to them.

Conclusion: contain yourself - an exciting summary will follow after all four imprints have had their turn. Disclaimer: they will not win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of a sports commentator.

China Miéville and his giant brain

For numerous reasons *@&&~~~# computer error code 124323### I was unable to write my weekly round-up this week, but don't worry, it should be back in force this time next ~~~@' unknown sandwich error***

China Miéville has been making waves recently at the Guardian - they've been lavishing him with some fabulous coverage. I’m going to case study him for my dissertation, because, according to the Guardian, he’s making Sci Fi cool again (plus his brain is so large his head has no room for hair). The only person to win the Arthur C. Clarke award three times, he’s just graduated to being the sort of writer who deserves to be featured in an A life in writing article. Basically the Guardian has trumped my dissertation topic by stating that Miéville has ‘combined his love of genre, geeky in its enthusiasm but scholarly in its depth, with an ambitious literary sensibility.’ He’s come a long way. In 2003 Miéville was credited by Granta’s editor as being ‘an extraordinary writer of dark fantasy’, but he still wasn’t included on their Best Young British Novelist list for that year. He might have been writing in an acceptably literary fashion, but he was still doing it by writing fantasy. Bad times. But that was eight years ago, and the snobbery (that’s ‘stigma’ according to my dissertation) isn’t as prevalent. Better times. He would hate my dissertation, because he’s waxed eloquent about this sort of ‘why are we so put-upon’ moaning, describing it as: ‘the endlessly arse-achingly expressed complaint from genre that no one takes us seriously.’ Yet, despite that, he recently wrote in his blog: ‘The sooner literary fiction recognises and accepts its generic identity, the sooner it can get help.’ Which is now a valid new section for my dissertation. I do believe that Miéville is the final push for genre. OK, so SFF isn’t as derided as I’d initially hoped thought it would be when I set out to write this beast, but it just needs a little bit more help to become as accepted as, say, crime (that’s the genre, not the act). Some people are always going to dislike it, but I think it would be great if this wasn’t just on principle. Now, if only I was writing my dissertation circa 2003…

D&D Encounters – RPG for beginners and lessons in what not to call a room full of gamers

In the name of researching information for my dissertation on stigma and Fantasy publishing, I have contacted publishers, interviewed editors and sent questionnaires to readers of different genres. But last week I decided the time had come to look into a different corner of the Fantasy market, that of the Fantasy gamer.

The generalised stigma surrounding Fantasy, Science Fiction and, to an extent, Horror (if the stigma exists, and I think it does), by which I mean the negative perception of SFF books (eg, they’re for children, they’re escapism, they’re wish-fulfilment, they’re badly written), also includes the negative perception of the readers themselves. I think many people who scorn the genre (please step forward by the way, I need you) still have this image of the ‘geek’ in mind when thinking of SFF readers.

That is, the spotty teenager/middle-aged man still living with their mother, with a deep lack of social skills and an unhealthy pallor earned from late nights spent basking in the glow of their computer screen, barking orders at their elf-self that’s done more exercise going from one end of the tavern to another than they’ve done in a year.

I blame television. Obviously, this is blatant stereotyping; it’s negative and, let’s face it, plain mean. Why is it a bad thing to enjoy gaming, online or otherwise? Who cares if some of those people who enjoy gaming also enjoy wearing their hair as long as their beard and t-shirts that say ‘What Would Leeroy Do?’

There are different sectors of the gaming world. There is LARPing – Live Action Role Playing (people who run around the woods acting out Fantasy battles and what not). MMORPGs – Massively Multiplayer Online Role-Playing Games (role-playing video games like World of Warcraft, EverQuest, etc). MMOG – Massively Multiplayer Online Games (online poker, puzzles etc). And there is RPG – Role-Playing Games (complex board games like Warhammer, Dungeons and Dragons, etc).

Of all of these, I felt that RPG was the one where I could find a bunch of like-minded people together in the same place (as opposed to distributed all over the world), and speak to them face-to-face.

However, when I emailed a shop that specialised in RPG, I didn’t expect the following response:

Me: *explains project and asks for help*

Store: Sure! But the best way is to take part in a session. We have D&D Encounters for beginners, we’ll set you up a character.

Me: ?!

Store: What would the slightly gothy version of yourself be like?

Me: ?!!!! *Out of my depth* A cross between Tyrion out of George RR Martin’s A Song of Ice and Fire, and… Buffy? But that’s probably not what you meant.

Store: That’s exactly what I meant ; )

So that’s why I cobbled together my questionnaires and, with younger sister in tow for support (she wanted to be Xena – we were clueless), embarked on a three and a half hour gaming session, the majority of which I spent completely bewildered.

To cut a long session short, there was a lot of background information the others on the table knew that we didn’t (not to mention incomprehensible in-jokes that provoked rounds of laughter we politely joined in on). This is because there are whole books published on the universe, including a number of regular publications that reveal new characters, abilities and locations, and a considerable online community fostered by DCI where you can swap stories, build characters and buy their countless, expensive player products.

D&D Encounters is, not a dating for geeks as the name might suggest, a series of weekly ‘epic encounters’, and ours was called ‘Dark Legacy of Evard.’ You can find out more here – and more details are released weekly so that gamers everywhere can take part.

I was Luusi, the human slayer. Our Dungeon Master was called Ian. Dungeon Master Ian, an ex-academic with long grey hair, explained the rules as we went along with supreme calm and patience. Our fellow gamers were similarly patient and helped us make our moves, looking past our expressions of confusion. There were just so many numbers and variety of dice involved. I rolled a D20 and a D10 (for damage, obviously), but one man declared something incomprehensible before throwing five different kinds of dice onto the table and making his move. The rest of us were suitably astounded (or at least, I acted suitably astounded to hide my lack of understanding). When I was first up I rolled a crit, which drew gasps, but I felt only panic, and had to fight the urge to say ‘Maths. Very dangerous. You go first.’ However, I didn’t want to look weird in front of the gamers.

The gamers consisted mostly of middle-aged men or boys that still looked teenaged, with hair in lots of exciting lengths and arrangements – and for the most part were lovely. There was an element of seriousness involved, such as when DM Ian was voicing the parts of the characters in the inn, although when he ducked behind his cardboard barrier to eat his pasta salad, this diminished somewhat. But mostly it was a relaxed atmosphere. There were tables set out where different games were taking place, and people came in and left when they pleased, bringing sandwiches, pizzas, more pasta salads and cans of pop along with them. The atmosphere was relaxed, safe, and you could tell people felt at home.

But then the time came for my questionnaires to be handed out. Suffice to say that I learned a few lessons. Namely: to check my grammar and to never use the word ‘geek’ in a room full of gamers (particularly in a questionnaire full of errors). My questions were openly mocked. It was like being back in high school. Essentially, I’d entered their inner sanctum, disrupted their gaming session, and demanded they answer questions about what it’s like being called ‘geeks’ and ‘steriotypes’ (sic). I think I would have mocked me too.

Having done a session, I only have admiration for the sheer volume of information the players are aware of, and their mathematic ability. I mean, doesn’t a die only have six sides? Any more than that and I'm lost.

Fun fact: the feedback from my questionnaires indicated that gamers don't equal genre fans, and it's a misconception that they are automatically going to be as geeky as, say, me about SFF fiction.

For a keen gamer this place is amazing. For an enthusiastic beginner (sans questionnaires), they're going to get a great welcome. Although this was one lair I don’t think I’ll be invading again.

bite me: the week in bite-sized chunks

Voyager: one major part of my dissertation on stigma and genre fiction is that SFF books, in general, don’t get the press they deserve. They’re seldom seen in Guardian reviews, or in train stations (on posters, not waiting to catch the next one out), they’re often not ‘worth’ the advertising space for bigger publishers, who have fiction lists to take care of with their marketing spend. So no wonder Voyager is celebrating their ‘Read a Brett yet?’ campaign, for Peter V Brett’s sequel to his frankly awesome The Painted Man, The Desert Spear. With tube posters and Shortlist spreads, this is a huge deal for an SFF title that isn’t True Blood, or had its own HBO series. Although apparently there is rumour of a film in the works, which you can check out on Peter V Brett’s own site.

The David Gemmell Legend Award: speaking of Brett, he is one of the finalists who have just been announced for this year’s Fantasy award, alongside:

BRETT, Peter V - The Desert Spear (Voyager)
HEITZ, Markus - War the Dwarves (Orbit UK/US)
JORDAN, Robert and SANDERSON, Brandon - Wheel of Time: Towers of Midnight (Orbit UK/Tor US)
PEVEL, Pierre - The Alchemist in the Shadows (Gollancz)
SANDERSON, Brandon - The Way of Kings (Gollancz/Tor US)
WEEKS, Brent - The Black Prism (Orbit UK/US)

The ceremony will be held on 17 June and fan tickets are £20 each. The price includes exclusive mingling, champagne and canapés. Request your tickets by emailing christineharrison_007@hotmail.com

Tor UK: China Miéville, the only author to win three Arthur C Clarke Awards, saw the official UK publication date of his latest behemoth, Embassytown, yesterday. Tor very much appears to be whipping Miéville’s backlist into shape with the recent re-jacketing, almost as if it’s gearing up for something awesome. Great reviews are coming in thick and fast for his eighth novel (not including shorts Looking for Jake and Other Stories). SFX magazine’s 4.5 out of 5 star review sums up this Science Fiction offering perfectly: ‘no other novel this year will offer up both a zombie apocalypse keyed off by a new kind of Ambassador and a crucial plot twist involving semiotics.’ Sounds amazing. It’s definitely time I dusted off the old Perdido Street Station and gave it another go.

Orbit: author Kate Griffin (of the Matthew Swift series) has written a blog post about the role of women in Fantasy fiction. The portrayal of women in genre fiction is a topic I’m fired-up about (despite being entirely ignorant of feminism), because, as Griffin writes, there were traditionally two types of female heroines: the Damsel in Distress and She-Ra (I may be paraphrasing here). Recently, particularly with the invention of the Kick Ass Female Lead (I’m looking at you, Urban Fantasy), the role of the woman in genre fiction tends to swing between the femme fatale and the damsel, sassily smiting whilst secretly harbouring the need to be rescued from the metaphorical tower of her sad past. So this, Griffin writes, is why she doesn’t write heroines (as well as a number of other reasons, but you should really read it yourself, she’s a great writer). Writers shouldn’t be afraid of just writing characters, rather than chromosomes, and Griffin shouldn’t be worried either – if her next hero happened to have a pair of boobs, I’m pretty sure her readers wouldn’t be too put off. Clearly Griffin will read this and immediately be moved to write her heroine-centric next novel. Loyal reader (readers, if this is a good day), repeat after me: characters not chromosomes!

Gollancz: interesting fact. Charlaine Harris’ Dead Reckoning, her latest True Blood/Sookie Stackhouse novel and the 11th in the series, has been the most pre-ordered book on Amazon UK this year. What’s more, two other SFF titles have already held the lead this year for being the most pre-ordered title, George RR Martin’s A Dance with Dragons and L J Smith’s The Return: Midnight (The Vampire Diaries). OK, so all three are linked with TV equivalents, but still – SFF’s fan base is rapidly expanding. *Crosses out dissertation topic and starts from scratch.*

RPG: something happened to me this week. After many months of faithful service, my car died. At a loss as I was unable to travel (public transport be damned) on the day I was due to go into university, I decided to do some research for my SFF and stigma-topiced dissertation. This somehow (although I’m still not entirely sure how) lead to me deciding that in order to fully understand the stigma that affects readers of SFF, I needed to fully understand the world of LARP (Live action role-playing) and RPGs (role-playing games). So, I am now booked in for a beginner’s session by the lovely people at Fanboy3, who will be setting up a character for me. Completely inept on a daily basis anyway, when asked what the ‘slightly gothy version’ of me would be like, I replied with ‘A cross between Tyrion from A Song of Ice and Fire, and Buffy.’ What could go wrong?