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Ad Astra, v. 1, issue 5, January 1940
Page 17
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AD ASTRA Page 17. they could safely ignore. First: the "catholic fan magazine". This type covers science fiction and/or fantasy, from as far back as possible to date,caters to no particular publication, covers the field in every possible way: books, leaflets, articlesin non-stf magazines, comics, etc. No possible source of imaginative exploitation is closed to it.Prominent example: Spaceways. Second: the "fan news-gossip magazine". This is devoted primarily to the individual fans or fan-groups, and, while running news of the professionals,can get along very well without them.Prominent example is: "Le Zombie. Third: the independent literary magazine,offered for subscription,published for the sheer purpose of exploiting the editor's urge for creation. It features stories, poetry, articles, and whimsy by other enthusiasts of imaginative fiction, has little or no interest either in professional publications or in fan organizations. Examples: "The Fantast", "Escape", "Sweetness and Light", "Futuria Fantasia", and "Polaris". While none of these examples are as yet full-breed in this type, they most closely resemble it and they are, I believe, fore-runners of that type of "fan magazine" which will most endure. "HEART AND HACK by Harry Warner Jr. The question has been asked dozens of times, and answered as often; Why is that so many fantasy authors turn out masterpieces when they begin writing; then degenerate and become hacks so swiftly?The answer is perfectly obvious, of course. When an author first begins to write, if he has talent, intelligence,or genius, or any or all of those, he writes good stories. As he gains experience he writes better, and the chances are that he sells better. And then he comes to the crossroads: shall he continue as he has been, writing good stuff in spare time; or shall he try writing for a living? Almost always, the latter alternative is decided upon. That brings up the point of this article. Which type of author can be counted on to produce the best stuff: the one who writes solely for the love of writing, with no hope of selling----or very little--; the one who has a steady job and writes merely in his spare time to make some extra money: or the one who writes for his living? To consider one at a time: the first type is almost non-existent. There are very few men who take the time to write a story with no hopes of selling, and for their own amusement. Those that do undoubtedly turn out messy products, anyway--most of them, at any rate. And if they have no view of selling, maybe they don't submit their stories in the end anyhow. I would go so far as to say that you'll almost never read a piece of fiction in a professional magazine, by someone who wrote it, forgot about it, and someday submitted it. Then come those who write as a sideline---and it's my opinion that they turn out the best fiction of all. For they have no particular schedule to fill; no worry about whether they'll eat next week if "Invaders from Mars" doesn't sell; and can write juust about as they please. And look at the huge number of stf and fantasy authors who fall within this category! Just about everyone who's rated tops by intelligent fans. A. Merritt--who writes fantasy as a sideline, of course, even though is work is literary--, E.E. Smith, Dr. Keller, and almost every other top-flight writer. Most important, they turn out good work most of the time, because they are ususally well enoug equipped to do it. And finally, those who live by writing. Thjere aren't many who write fantasy almost exclusively and live by it--Eando Binder and Jack Williamson are the ones who come closest, I believe. But of course there are a great many authors who live by their writings of other types of
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AD ASTRA Page 17. they could safely ignore. First: the "catholic fan magazine". This type covers science fiction and/or fantasy, from as far back as possible to date,caters to no particular publication, covers the field in every possible way: books, leaflets, articlesin non-stf magazines, comics, etc. No possible source of imaginative exploitation is closed to it.Prominent example: Spaceways. Second: the "fan news-gossip magazine". This is devoted primarily to the individual fans or fan-groups, and, while running news of the professionals,can get along very well without them.Prominent example is: "Le Zombie. Third: the independent literary magazine,offered for subscription,published for the sheer purpose of exploiting the editor's urge for creation. It features stories, poetry, articles, and whimsy by other enthusiasts of imaginative fiction, has little or no interest either in professional publications or in fan organizations. Examples: "The Fantast", "Escape", "Sweetness and Light", "Futuria Fantasia", and "Polaris". While none of these examples are as yet full-breed in this type, they most closely resemble it and they are, I believe, fore-runners of that type of "fan magazine" which will most endure. "HEART AND HACK by Harry Warner Jr. The question has been asked dozens of times, and answered as often; Why is that so many fantasy authors turn out masterpieces when they begin writing; then degenerate and become hacks so swiftly?The answer is perfectly obvious, of course. When an author first begins to write, if he has talent, intelligence,or genius, or any or all of those, he writes good stories. As he gains experience he writes better, and the chances are that he sells better. And then he comes to the crossroads: shall he continue as he has been, writing good stuff in spare time; or shall he try writing for a living? Almost always, the latter alternative is decided upon. That brings up the point of this article. Which type of author can be counted on to produce the best stuff: the one who writes solely for the love of writing, with no hope of selling----or very little--; the one who has a steady job and writes merely in his spare time to make some extra money: or the one who writes for his living? To consider one at a time: the first type is almost non-existent. There are very few men who take the time to write a story with no hopes of selling, and for their own amusement. Those that do undoubtedly turn out messy products, anyway--most of them, at any rate. And if they have no view of selling, maybe they don't submit their stories in the end anyhow. I would go so far as to say that you'll almost never read a piece of fiction in a professional magazine, by someone who wrote it, forgot about it, and someday submitted it. Then come those who write as a sideline---and it's my opinion that they turn out the best fiction of all. For they have no particular schedule to fill; no worry about whether they'll eat next week if "Invaders from Mars" doesn't sell; and can write juust about as they please. And look at the huge number of stf and fantasy authors who fall within this category! Just about everyone who's rated tops by intelligent fans. A. Merritt--who writes fantasy as a sideline, of course, even though is work is literary--, E.E. Smith, Dr. Keller, and almost every other top-flight writer. Most important, they turn out good work most of the time, because they are ususally well enoug equipped to do it. And finally, those who live by writing. Thjere aren't many who write fantasy almost exclusively and live by it--Eando Binder and Jack Williamson are the ones who come closest, I believe. But of course there are a great many authors who live by their writings of other types of
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