Woohoo! Firefly News!

From Inside TV:

'Firefly' returning to cable; Fillion says he'll play Mal again--EXCLUSIVE

From BigShinyRobot:

Firefly Changes Owners; New Episodes Possible?

It's not quite the squeeable news the title suggests, but very exciting all the same.  Firely will be returning to the Science channel on March 6 in high definition with two episodes, followed by all the episodes--in the order they were intended--on following Sundays. Plus some "new material" including commentary by Dr. Michio Kaku on the science of Firefly. 

And be sure to read the article for Nathan Fillion's answers to questions posed by Inside TV.  (Yes!  He says "Yes.")

There have been many articles written in the past how Firefly got it right.  Using the premise that Earth was abandoned in the not-too-distant future for a nearby (relatively speaking) solar system with many planets and hundreds of moons, it avoided the common theoretical problems of "galloping around the universe" popular in most other SF fims and TV shows.  The characters speak a combination of English, Chinese (the other superpower of the age--totally within the realm of believability in our current society), with futuristic slang phrasing that's both entertaining and fresh.  (i.e. "You're starting to damage my calm.") The ships in the series also moved through space realistically--without sound and without aerodynamic effects such as banking and executing intricate maneuvers in a vacuum without the use of retros.

If you're one of the handful who missed it the first time (or via DVD), I highly recommend Firefly as a study for any SFR writer!

Come on, Brigaders.  Let's celebrate!  Ante up in the comments with your favorite Firefly scene, phrase, character or element.

Publisher Showcase - Samhain Publishing

Hello SFR Brigaders/Readers/Authors out there!

I have the honor of presenting Sasha Knight from Samhain Publishing in our continuing Publisher Showcase series! So let's get this ship off the launch pad and get into orbit!



Would you like to share a little history about Samhain Publishing?

Pronounced sah-vin by the Scots, sow-in (sow like cow) by the Irish and sam-hine in English, Samhain is the Irish word for November. And November 2005 saw the launch of Samhain Publishing, Ltd., founded with a goal of bringing to compulsive readers books that allow them to discover new worlds and be taken on adventures through the creative minds of today’s brightest authors.

Over the last four and a half years we have worked hard to make Samhain one of the top epublishers in today’s market. Our books are available at digital bookstores all over the web, and we also publish print versions available in Borders, Barnes & Noble and Chapters as well as other chains and independent bookstores—but always remember that if you simply can’t wait, the digital version is just a click away!

Who are your key personnel?

So many people work hard to make Samhain a fantastic publisher that I could take page after page just mentioning names and all they do for Samhain. Plus, we couldn’t exist without the authors who write the wonderful stories readers clamor for. But I assume you’re asking about the staff. We have a great crew who you can read about on the About Us page on our Samhain website.
http://www.samhainpublishing.com/about

What are the most common reasons a novel (especially a Science Fiction Romance novel) is rejected?

The most common reason a book is rejected is the writer doesn’t know their craft. Simply put that means poor grammar, stilted writing, implausible storylines, plot holes, info-dumping, starting the book with page after page of unnecessary back story, unlikable characters or ones I can’t—or don’t want to—relate to. There are many more reasons, but these are the ones I see over and over again.

I also want to mention cover letters. I can’t tell you how many times I see basic typos and misspellings in a cover letter. Looking back over the last five slush pile submissions I received, three of them had obvious typos in the cover letter—and in one of those the author misspelled the title of the book. I wish I was joking, but I see this more often than you’d believe. Remember, authors, you want to make a good impression from the beginning, and that includes a polished, professional cover letter. Don’t over-share personal information. Be professional, be courteous of the editor’s time, and polish, polish, polish. Don’t give us a reason to dread looking at your submission—make us excited from those very first few lines.

What are the biggest mistakes new authors make?

If you’re talking about authors who haven’t been published before and who are looking to break in, it’s everything I stated in the above answer. If you’re talking about new authors who have just signed their first contract, it’s not realizing or appreciating the level of work that goes into releasing a book. Don’t get me wrong, I love the shiny newness of a brand-new author who is so excited about their first book contract. I love that enthusiasm. But I’ve seen some who come in thinking that they’ve already done the hard part—they wrote the book—and they won’t have to do many edits, they won’t have to promote the title, they won’t have to do anything but sit back and cash their huge paychecks. Be prepared to work and work hard, edit, revise and rewrite, then promote, promote, promote—all while writing your next book.

What do you look for in a Science Fiction Romance submission? What grabs your attention, makes you sit up and want to read more?

The same thing I look for in any submission. I want to be wowed. It’s as simple and as complicated as that. What wows me? A well-written story featuring characters I want to spend lots of time with. A strong and unique author voice that makes me sit up and take notice. In Science-Fiction romance, I want to see strong worldbuilding. The worldbuilding is such an essential and important part of this genre, if it’s not there, or it’s lacking, I’m probably not going to offer a contract. I don’t want cookie-cutter characters, plots, or worldbuilding. Make it unique, make it believable. Make me want to sit in the pilot seat, fly through the stars, or walk the streets of your world.

How far do you read into a submission before you know if the novel is right for you?

I can read a few lines of a book and know it’s wrong for me, but for new authors I haven’t worked with before, I read the entire book before I know it’s right. Now, I might get a buzz along my spine, the breathless anticipation of what’s to come from reading just the first couple chapters, but I will read all the way to the end before making a decision, because, sadly, books that start well sometimes fall apart.

Do you have recommendations or requirements regarding "heat levels" of submissions?

Write the heat level the story—and characters—demand. Don’t try to write hotter just because you think that’s what publishers are looking for. I can’t tell you how many times I’ve been reading a fantastic story, the characters are exciting, the worldbuilding fantastic, and then out of nowhere the story devolves into a sex romp that completely doesn’t fit the characters or the plot, making me go “wha--?” and ripping me out of the story. On the opposite side of the spectrum, I’ve read books where the author builds the sexual tension between the characters so hot that the story demands a sex scene, and then the author either closes the door on the sex or ignores it. Both of these can be story killers. Make sure to stay true to the characters, and to the promise you’re making to the reader.

Tell me about a few of your favorite/best-selling Science Fiction Romances novels. What really stood out in these stories that made them unique? (They can include covers, blurbs and links here if they’d like)

In January and February of this year Samhain released six space opera novellas that came about from an anthology call I held last year. I love each of these stories because they’re all different, from fun space romps (Hearts and Minds by J.C. Hay, Beyond Meridian by C.C. Bridges, and Moonlust by Kallysten), dark explorations of sexual desire on foreign worlds (Crimson by Ethan X. Thomas), and breathless action-adventure in space (Metal Reign by Nathalie Gray and The Mythmakers by Robert Appleton). Not to mention Kanaxa’s cover art for each of these stories absolutely blows my mind. I had a fantastic time doing this anthology and look forward to the print volumes releasing in November and December of this year.

http://samhainpublishing.com/romance/moonlust
http://samhainpublishing.com/romance/beyond-meridian
http://samhainpublishing.com/romance/crimson
http://samhainpublishing.com/romance/the-mythmakers
http://samhainpublishing.com/romance/hearts-and-minds
http://samhainpublishing.com/romance/metal-reign

What are you looking for right now? What kinds of submissions would you like to see pop up in your e-queries? Anything you’re dying to see more of? Steampunk? Futuristic? Space Opera? Any dream novels?

I’m looking to be wowed, in any genre. My steampunk romance anthology call closed on April 30 and I’m reading through the submissions now. This is the fun part—it’s like Christmas morning, so many exciting stories to unwrap. I also just contracted my very first cyberpunk novel, and I’d love, love, love more of those. And more post-apocalyptic (or apocalyptic!) please. I rarely see any submissions in these genres, and I want more!

My dream novel? I’m a huge fan of Joss Whedon’s Firefly, and my favorite movie last year was the new Star Trek. I would love stories in a similar vein (no fanfiction please!) If I were to receive a well-written sci-fi romance story—preferably the first in a continuing series--where each story explored a relationship between crew members aboard a ship as they explore the universe, planets, fight the baddies, etc., I would probably hyperventilate with excitement. So I offer this challenge to all the writers at the SFR Brigade. Make me hyperventilate. Wow me. I’m ready.

Thanks for giving us an insight into Samhain Publishing! Breaking orbit… It's okay, I'm a leaf on the wind!

Sasha Knight, Senior Editor

Sasha Knight loves words. Her parents swear she came out of the womb speaking and took up reading soon after, so it should come as no surprise that she grew up to become an editor, allowing her to spend her days playing with words.
In 2005, Sasha joined Samhain Publishing, Ltd. as a full-time editor. In addition to her administrative duties, she maintains a full-time editing schedule and edits more than 50 authors…and she’s always looking for more.

When she’s not editing, reading submissions or wading through thousands of emails, Sasha relaxes by watching TV. She’s an avid fan of Joss Whedon and thinks that Firefly was one of the best TV shows ever. She also loves Doctor Who and is torn between her love of David Tennant and Matt Smith, and ranks Steven Moffat up there with Joss Whedon among the best TV writers ever. Sasha loves to travel with her family, an e-reader full of books always at her side.

Lessons in Sci-Fi?

Saw this a while back and wanted to share. For me personally, Joss Whedon's shows, such as Buffy, Angel, Firefly, are a major factor contributing to my desire to write sci-fi romance.

If I admitted how many times I've watched the 144 episodes of Buffy (cough*three*cough), you would think I had no life (that's up for debate, especially considering I've memorized the lyrics to Once More, With Feeling). However, what draws me back to his work is his characterizations, story arcs, motifs, and the fun he has with it. I've often wanted to crawl into his brain to figure how he thinks of that stuff! So any light is appreciated.

Thus I give you Joss Whedon's 10 Writing Tips as posted at his site Whedonesque, which can be easily adapted for fiction writing.

1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.

2. STRUCTURE
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.

3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’

4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.

5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.

6. LISTEN
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.

7. TRACK THE AUDIENCE MOOD
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.

8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’

9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.

10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.”