Let's start this column off on the right foot, so if you haven't ever heard of me, please take a moment, using your web browser, and go to http://people.delphi.com/jchalker/ and take a look at the bio and bibliography. You might also note that they're all (gasp!) BOOKS! Lots and lots of books by me, in a ton of languages from American English to Japanese to Russian. There are no STAR TREK episodes there (although I knew Gene Roddenberry fairly well and was there when he first showed the first grainy black and white pilot), no STAR WARS (I turned down doing a lot of the STAR WARS books--Brian Daley, god rest his soul, took 'em instead and got his measure of fame and fortune from them), no real media stuff at all. That's not from lack of will--I'm open to offers, and have sold a dozen books to the movies. It's just that none of them ever get made. Sort of like the Legend interactive CD sale I made where the money was good but no game's yet appeared.

I have been around a while, and I make my living writing science fiction and fantasy books and have done so for almost twenty years without once having to find honest work. Before that, as well as teaching, I did a variety of jobs, was an audio engineer and reviewer, ran what would now be called a service bureau, edited a line of books, and did other such things. I grew up in the science fiction world, as it were. I discovered fanzines when I was just thirteen, and a local SF club (that still exists) a year later. I went on to do a Hugo-nominated fanzine, become a known expert on and offical Arkham House bibliographer of H.P. Lovecraft, corresponded with just about everybody I could find in those early days--Clark Ashton Smith was making a pair of eldrich horror bookends for me when he died--and went on to found the Baltimore Science Fiction Society (in Baltimore, MD) which still exists, and its convention, Balticon, which now is almost the size of World Science Fiction Conventions. I somehow managed to serve two years active and four reserve in the Air Force during Vietnam without leaving the country (well, the Canal Zone, but that wasn't like really going overseas) and without missing a World Science Fiction Convention. I even edited and published a Harlan Ellison book and am still on friendly terms with him.

All that's merely to point out that I've been around the field and I know what I'm talking about. Even the folks who don't like me admit that I probably know as much about the science fiction field, and know as many writers, editors, publishers, and artists in the field, as anyone today. So when I start mouthing off about something, well, it's not just hot air.

In future columns, we'll talk about a number of things, from books to cons to history to media, and maybe writing and such as well, but right now I'll just give you a short shock that has unnerved not only the science fiction field but all writers of print media.

When I started, there are about a dozen large paperback houses, about forty hardcover houses, and lots of markets. Now in the Eighties, when the rich got their breaks and instead of trickling down went out and bought up the competition, there are effectively four major and three minor houses publishing SF in all U.S. publishing. We're not talking small press here, understand, but places where you can make good money and get wide distribution.

Almost half of all paperback books (which is where the real money is in this field) are taken by a very few companies--Walden's, B. Dalton's, Borders, and some smaller but superstore chains. That means that the chains basically drive the publishers rather than the other way around. They determine what gets published, and who, and how much, by telling the publishers who they'll buy and how much of him or her based on past sales. When there were hundreds of small chains and vast number of independent general bookstores the editors decided, but that's past history. Another forty percent is bought by the IDB market -- Independent Distributors and Booksellers. These are the guys who stock the racks in Unical Truck Stops and Seven Elevens and airport book stalls and the like. There used to be hundreds of these as well, but in a series of fast takeovers and maneuvers just within the past couple of years we're down to a half dozen for the entire U.S., or just about twice the superstore sources.

So, basically, nine people with their point of sale spreadsheets now decide what gets distributed and how much and who and what does not. Not to worry--they couldn't care a hoot about censoring things. But worry--if they could stock only Stephen King, Dean Koontz, Danielle Steele and Tom Clancy they'd be happy. Books aren't art here, they're commodities just like soaps and toothpaste and pizzas. The shelf life of some high traffic IDB sites like airports can be measured in HOURS--you don't sell out by the afternoon check, you're history. If you don't already have the audience, it's tough to find it. One good example of the mindset here is the fact that Asimov and Heinlein are both several years dead, yet new (repackaged, expanded, etc.) books continue to appear. They have constituencies, audiences, that don't cost money to promote. New people and new ideas? Too risky, unless you can get a bestseller out of the box from your first book.

Understand, this isn't the remaining publishers or editors, it's at the retail end. So, all you budding beginning writers out there, take heed! Write the first one to be a Major Motion Picture or make it a paying hobby and find a career. Just as TV shows now have to be instant hits or it's Cancel City, so books have to be instant hits Or Else.

Now, don't take this as meaning that you can't sell to the bookstores. You still can, if you've got it as a writer. What you might never get, without that out of the gate push, is a raise, major promotion, and a second chance.

Next time, though, we'll get through what everybody is dying to know. The Secret Handshake for Selling Science Fiction.

Copyright 1997 Jack L. Chalker

Next week's columnist is Kris Rusch.