Jun 01 2015

2015 David Gemmell Award for Fantasy Shortlist

Votati pina pe 17 iulie : 

Legend Award for Best Novel
Half a King by Joe Abercrombie (HarperCollins UK)
Valour by John Gwynne (Tor UK)
Prince of Fools by Mark Lawrence (HarperCollins UK)
Words of Radiance by Brandon Sanderson (Gollancz)
The Broken Eye by Brent Weeks (Orbit)
Morningstar Award for Best Debut Novel
Traitor’s Blade by Sebastien de Castell (Jo Fletcher)
The Mirror Empire by Kameron Hurley (Angry Robot)
The Godless by Ben Peek (Tor UK)
The Emperor’s Blades by Brian Stavely (Tor UK)
The Age of Iron by Angus Watson (Orbit)
Ravenheart Award for Best Cover Art
The Slow Regard of Silent Things by Patrick Rothfuss, cover art by Laura Brett (Gollancz)
Half a King by Joe Abercrombie, cover art by Mike Bryan (HarperCollins UK)
Prince of Fools by Mark Lawrence, cover art by Jason Chan (HarperCollins UK)
Words of Radiance by Brandon Sanderson, cover art by Sam Green (Gollancz)
Fool’s Assassin by Robin Hobb, cover art by Jackie Morris (HarperCollins UK)

May 29 2015

The Weight of a Wing FREE pe Amazon!

weight of a wing

May 28 2015

Cronici de la Capătul Pământului – Costi Gurgu

Volumul e impartit in 3 bucati. Nu stiu exact criteriile ca nu se precizeaza. Se poate sa fie in functie de data scrierii.cronici-de-la-capatul-pamantului

I

Ciuma de sticla – O mai citisem, buna ideea, un inger picat in mijlocul unui oras raspindeste niste substante ciudate ce au efecte diverse asupra oamenilor   

Ingeri si Molii -  De asemenea o veche cunostinta. Parca are mai multa substanta in limba engleza.

Verite – De departe cea mai lunga povestire a volumului. O alta idee interesanta, personalitatile oamenilor sunt “urcate” in spatiul virtual si chiar folosite pentru un nou tip de advertising, insa impresia generala ca e prea lunga, mi-a stricat mult din feeling-ul povestirii.

Albastre – Mi-a placut, o idee originala, tineret vampiresc si alte creaturi de mit in inima unui altfel de Bucuresti.

Mlastinile din Sud – o povestire ce precede actiunea din Retetarium. Am avut un sentiment deosebit sa ma intorc in lumea magica a lui Morminiu.

II

Dincolo de farul de la capatul lumii – Situata in universul Radharc (de care am auzit), mi-au placut ideile, si in fapt jumatate de povestire, apoi a devenit prea metafizica pentru mine. Read the rest of this entry »

May 27 2015

Despre cele mai importante cărţi SFF din 2014

Am observat o tendinţă a anumitor cititori de science-fiction de a desconsidera trilogia Southern Reach a lui Jeff VanderMeer, o lucrare pe care eu o consider cea mai importantă operă de literatură speculativă apărută în 2014 şi cel mai bun roman al lui Jeff VanderMeer (Pentru că e aproape imposibil ca acestei serii să-i scrii o recenzie adevărată, mai jos nu este o recenzie, ci doar câteva idei şi argumente scrise aşa cum mi-au venit).

  • Annihilationîn ciuda faptului că te duce cu gândul la Lovecraft (jurnalul la persoana întâi), Picnic la marginea drumului (prezenţa străinului într-un peisaj aparent natural) sau la serialul Lost (flashback-urile între viaţa dinainte şi de după naufragiu), trilogia Southern Reach este ceva cu totul nou;
  • cititorii sunt obişnuiţi ca în general cărţile despre naufragiaţi în zone misterioase să fie nişte lecturi horror, palpitante, dar destul de facile; această trilogie nu este nici horror, nici despre naufragiaţi şi nici o lectură facilă;
  • creatorul ei este omul care cunoaşte cel mai bine literatura weird şi care a internalizat cea mai mare parte din această literatură de limbă engleză şi o parte importantă din litera weird mondială;
  • am observat că tendinţa multor cititor a fost ca după o parcurgere rapidă a primului volum să considere că acesta e o carte slabă şi apoi să-l uite rapid;
  • având în vedere faptul că VanderMeer este considerat unul dintre cei mai talentaţi autori de literatură speculativă ai lumii şi cel mai mare cunoscător al literaturii weird, nu ar fi mai bine ca, înainte să considerăm că a scris una dintre cele mai slabe cărţi weird din istorie, să ne gândim că poate există multe aspecte care au scăpat unei treceri rapide şi că anumite prejudicii ale noastre cu privire la ceea ce percepem că ar fi tema principală a acestei cărţi ne împiedică să pătrundem mai în profunzime; Read the rest of this entry »

May 25 2015

13 carti – 10 ani – 3.4 milioane $

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Daca nu ati vazut deja Tor l-a acontat pe Scalzi pe o perioada de 10 ani cu suma si numarul de carti de mai sus.

 

Un comentariu interesant ce lamureste un pic “impartirea” banilor si ceva impresii despre sectorul YA :,

Kat Goodwin
May 25, 2015 at 8:30 pm

Congrats! Congrats! Very interesting deal. You may have set a record for most books licensed by an author in one deal with a publisher.

I’m curious to see if Tor and other big publishers try to “lock in” more bestsellers with long-term deals like this. The trend for awhile has been to go the other way, so they obviously have a lot of confidence in your work.

For any confused (or to help those trolls annoying Scalzi talking off the top of their small brains,) the 3.4 million advance is an advance of estimated royalties. That is, Tor has estimated, based on past sales and Scalzi’s proposed books, that sales will be such that Scalzi will earn a minimum of 3.4 million in royalties (at the agreed upon royalty rates,) altogether for the thirteen books over ten+ years. In this particular case, where the books are not tied together in earnings, each book presumably has been assigned an individual advance (all the advances totaling 3.4 million.) While these advances might not all be the same amount, you can think of it as roughly $260-270K per book.

If an individual book in the deal doesn’t earn as much as the advance in royalties for Scalzi, then Tor still pays Scalzi the full advance, in a series of payments over a time period. They eat the cost between the advance and the actual royalties (although they can still make money if the difference isn’t too big.) If the book does earn the amount of the advance in royalties, then Scalzi has “earned out” his advance. If the book earns more in royalties than the advance, then Scalzi is paid the royalties additional to the amount he was paid earlier as an advance on his royalties, and everybody is very happy. Potentially, if some of the books are good hits, he could earn a good deal more than 3.4 million, plus foreign sales, film/tv deals, etc. If Red Shirts does make it to t.v., then that brings more readers to all his books.
So this is a good, practical, long term gamble on both their parts.

(For the self-pub crowd, as a self-pub author, you are the publisher and a vendor like Amazon is your distributor, not your publisher. What Amazon pays you for your sales are NOT royalties, even though Amazon likes to call them royalties. It is instead your, as the publisher, net profits after Amazon deducts their cut — your business expense. It’s the same money that Tor would receive from Amazon and Barnes & Noble after sales. So no, Scalzi would not be making a higher “royalty” self-pubbing with Amazon because Amazon doesn’t pay royalties unless you publish with their actual publishing imprints. Learn the business you are in.)

John Small Berries:

What exactly distinguishes YA from non-YA fiction? Some of the books I’ve read that were labelled “YA” seemed to differ only by the fact that the protagonist was a teenager.

YA is a sub-category of the childrens/teen market, which is segmented by age ranges. YA is the last age range, for readers 12 years old and up. A title is YA fiction if it is published by a childrens/YA publisher and sold in the YA section of bookstores. YA books from those publishers will have a protagonist who starts off somewhere between the ages of 11-25. Many teen books contain graphic sex, violence, rape, drug use, mental illness, etc. Books aimed for younger teens in YA will have less of that, but YA is not cleaned up adult fiction. It’s books that are specifically published and marketed for an audience of mainly teens, though that audience may include younger kids who read well and adults.

Many books published and sold in the adult market have teen protagonists, especially in fantasy fiction. Many of them are never sold as YA. But some of those books, like Zoe’s Tale, may be cross-marketed to the YA market. That is, the adult publisher will also market the book in the YA media and to schools, and sometimes sell it in the YA section as well as the adult section of the bookstores. A book may be sold as YA in some countries and in the adult market in others, depending which publisher is doing the book in that country and how much of a separate YA market the country has.

So Zoe’s Tale was cross-marketed to the YA market, but not specifically published in the YA market. Scalzi’s new YA series will be published (probably in a coordinated effort,) by Tor’s YA arm and sold in the YA sections of the bookstores. They may also reissue Zoe’s Tale and make a YA marketing push with it to go along with the new YA novels, depending what they are.

So basically, a book being YA is a matter of which publisher published the work and where it is sold in bookstores/vendors, the only requirement being having a protagonist who is under the age of thirty.

May 25 2015

Caitlín R. Kiernan – Fată înecându-se

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Noua achiziţie apărută la editura Paladin mi-a ridicat numărul de cărţi Drowning Girl la 4. Pe lângă Fată înecându-se mai deţin ediţia electronică, ediţia originală trade-paperback şi ediţia de lux apărută la Centipede Press. Şi nu regret, pentru că cea mai bună carte fantasy apărută până acum în secolul XXI îşi merită pe deplin fiecare bănuţ.

Sper să o citiţi şi voi pentru că ediţia în româneşte e frumoasă şi deloc scumpă. Pentru cine mai are nevoie de convingere voi relua mai jos recenzia apărută în 2012 în Galileo Online.

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Ce este The Drowning Girl? Read the rest of this entry »

May 23 2015

INNSMOUTH NIGHTMARES Edited by Lois H. Gresh

Nu avea o coperta inca anuntata asa ca am urcat si eu o poza la alegere. O sa apara la Ps Publishing, dar nu se stiu inca mai multe. Decat cuprinsul:

“Windows Underwater” by John Shirley
“Cold Blood” by Lavie Tidhar
“Fear Sun” by Laird Barron
“Thicker Than Water” by Paul Kane
“Strange Currents” by Tim Lebbon
“Mourning People” by Nancy Kilpatrick
“The Barnacle Daughter” by Richard Gavin
“Between the Pilings” by Steve Rasnic Tem
“The Imps of Innsmouth” by Wilum H. Pugmire
“The Open Mouth of Charybdis” by John Langan
“Water’s Edge” by Tim Waggoner
“Dark Waters” by William F. Nolan
“A Girl’s Life” by Lisa Morton
“The Sea Witch” by James Moore
“Brood” by Jason V. Brock
“Gone to Doggerland” by Jonathan Thomas
“The Scent of the Hammer and the Feather” by Joseph Pulver, Sr.
“Baubles” by Nancy Holder
“The Waves Beckon” by Donald Tyson
“The Cats of River Street (1925)” by Caitlin Kiernan
“Some Kind of Mistake” by S.T. Joshi

May 23 2015

Concurs de BD

May 22 2015

Do you have what it takes do escape?

Summary:
Monstrum takes the traditional survival horror formula and remixes it completely with procedurally generated levels, permadeath, and AI driven predators, ensuring that nowhere on its derelict cargo ship is ever truly safe.

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