A Reaction to an Essay on Philippine Speculative Fiction
Charles Tan wrote an essay here defining Filipino speculative fiction. He brought up a lot of good points and it is an essay well worth reading. However, I would like to call special attention to this passage:
Philippine speculative fiction, on the other hand, recognizes that fiction doesn’t always have to be socially relevant. Can’t we write stories simply to entertain? That’s not to say local spec fic isn’t socially relevant or doesn’t possess gravity. More than a few modern spec fic stories tackle that (spec fic is inclusive, remember?). But the biggest differences is that writers are now able to write and pursue their own agendas without feeling guilt about the lack of Filipino characters or Filipino settings or importance on how their work will change the face of Philippine literature while still being able to gain a certain amount of literary acceptance.
I have to put my two cents out there.
I’m not going to deny that we have realist writing traditions. We have celebrated literature that aims to represent our unique struggles, as people and as citizens, and even now we’re in dire need of skilled wordsmiths who aren’t afraid to reflect Filipino society, its glories and ills, in their fiction.
But, you see… as a writer of speculative work, I have never felt like I had to break off from or go against any traditions. Or felt guilty or scared because I wrote stories that other Filipinos might not enjoy reading.
My own publication history encourages me to believe that the local market never outright discouraged fantastic fiction. In 1996, I had one science fiction-ISH (perhaps in the same way you would consider “Spaceman” fantasy-ISH) story printed in the Women’s Journal; it was titled “The Godfather.” I’ve had two horror stories (“Moonlight Ride” and “Legend”) and one fantasy story (“Spaceman”) printed in the Philippine Graphic. I must point out that “Moonlight Ride”, also printed in 1996, was a fantasy horror that had absolutely no Filipino elements.
Moreover, the two stories which got me shortlisted for – and later fortunately accepted into – the 1997 UP National Writers Workshop were both speculative in nature. One of them didn’t have Filipino elements, either. Although I clearly recall that it was Sir Butch Dalisay, a teacher of mine at Technical Writing and now a supporter of spec fic, who said at the workshop that he thought writing fantastic fiction seemed “frivolous” and that there are already so many interesting prompts in real life one could write about. Yes, Sir Butch, I’m afraid I was never able to move on from that :P
I felt very strongly as a young writer that I needed to bring something new and interesting into this country’s rich literary heritage. And that what I had to bring were stories that were speculative in nature. And now that my “non-realist” stories have been published, I am very uncomfortable with the idea that some people think there was NO market for speculative fiction before recently.
There may be more avenues now thanks to the Internet, and to the brave, talented, enterprising souls that have put out calls for speculative fiction exclusively… but to say that before now, Filipino writers were not free to set their imaginations loose, because their big bad professors/teachers/mentors were going after their heads?
No.
This is unfair and disrespectful to the institution of Filipino literature.
It’s not a matter of debate that speculative fiction has been around for many years as a big part of Filipino culture. Some of our best published writings, in English and Filipino and other local languages, have had elements of fantasy and folklore woven into them. And yes, they have been thought of as “serious writing.” The methods of writing employed were simply good enough to merit critical acclaim.
On the other hand, there have been speculative stories written purely for entertainment, in the form of komiks and horror and fantasy paperback novels. People submit to these “masa” publications (often not in English) for money and fun, and… I suppose it is safe to say the authors also have no aspirations of winning a Palanca or a Pulitzer. They simply want to put their stories out and get read, and maybe get paid a little too.
I understand that people are clamoring for a “middle ground” – a place where writers of speculative fiction can just have fun and at the same time get read, without striving for literary recognition or resorting to outright “masa” status. But there is really no need to give false impressions of our local writing market, in our search for this.
I fear that young writers actually believe this generalization – that local publications WILL NOT accept your work if you don’t write with Filipino elements, or if you don’t write in a realistic style. I know it’s daunting enough to submit anywhere, especially to national magazines… but please.
If you have never submitted your speculative work to local publications before, why haven’t you? And if you have, but it was rejected, are you sure it was because your piece is not Filipino or realist – or because it simply needs more work?
Or perhaps, it just wasn’t suited to your chosen publication. Have you done your research? Do you know the kinds of stories this publication normally accepts, and have you chosen the right story/tailored your story appropriately?
***
I want to ask young writers who want to enter our literary world through the spec fic arena – what kind of writer do you want to be? Ask yourself that right now, because that will help you define your artistic path from here on out. Do you want to be a “serious” writer, or do you just want to write for fun?
If it’s the latter, congratulations: there’s a whole world of possibilities out there for you. There are even new publications that could help you meet your target readership! And if all else fails, you can always self-publish. The Internet makes things so much easier.
But if you’re the former, you have to understand that being a “serious” writer is entering a battlefield. You have to meet standards that are older and bigger than you; it is intimidating for a reason. It’s not enough that you come into it with bright eyes and a lot of fresh ideas – you have to polish your technique and in the process do a great deal of self-reflection, get a better handle on your strengths and weaknesses.
Above all, you have to learn how to suck it up and not whine when you’re not praised or acknowledged. You may be a “newbie” writer, but understand that the publishing world is not obliged to go easy on you. Blood is spilled in these halls.
Rejection is a soul-wrecking thing, every writer worth his or her salt knows this – you will need to grow a thicker skin, to be able to keep trying.
Spec fic has been in the Philippines for centuries, starting with Philippine oral epics all the way to *Ibong Adarna*, and beyond that.
bhex: here’s a few questions and comments for you.
it’s nice to know that even before the advent of the phil spec fic anthologies, some have been trying to make a go at writing spec fic and even pushing them to get published. i’m amazed and gratified to learn that you succeeded in getting your stories out there despite the preponderance of stories that are mainly focused on realism.
given that:
a) there seems to be a schism in your essay about the subject matter you write about. for example:
“I have never felt like I had to break off from or go against any traditions. Or felt guilty or scared because I wrote stories that other Filipinos might not enjoy reading.”
…and…
“Yes, Sir Butch, I’m afraid I was never able to move on from that :P”
the latter may be a throw-away statement but still, it does seem to me that you’re still not comfortable with writing spec fic. (i could be wrong but i’d be grateful if you could enlighten me.) as a side question, which do you believe yourself to be doing: writing to be a “serious writer” or for entertainment’s sake?
b) I do think that it’s not a matter of generalization (i.e. “that local publications WILL NOT accept your work if you don’t write with Filipino elements, or if you don’t write in a realistic style”) but rather of perception.
Even with a number of writers managing to have non-realist stories published in local publications, the majority of stories is still realism and this fact is what sticks to the mind of young writers. This is compounded by:
“but to say that before now, Filipino writers were not free to set their imaginations loose, because their big bad professors/teachers/mentors were going after their heads?”
Unfortunately yes. See your compatriot’s article in MB:
http://www.mb.com.ph/archive_pages.php?url=http://www.mb.com.ph/issues/2008/08/16/YTCP20080816131977.html
“How many of us have encountered this sort of problem in the past? Sometimes, our Literature teachers in high school and in college ask us for research papers – they tell us that we can write about whatever we want. However, when we decide to study about popular culture, alternative mediums (i.e. comic books or video games), contemporary works of fiction or genres like science fiction or fantasy, we are often told that these things are not relevant enough as compared to the classics or more “canonical” works and genres.”
ironically, i’ve also heard too many stories of writers wanting to write in a non-realist mode and being put down by authority figures. so if it’s a false perception, yes it could be but it’s still a perception that is prevalent. even your term of it, ‘impression’ admits the fact that it’s something other writers believe in. why is that? even a false ‘impression’ has to come from somewhere.
my point being is that you’re particularly harsh on people who may not know that non-realist stories can and were published in local publications. but is it their fault if the said impression (i.e. the idea that serious literature should matter or not at all) is the one conveyed even by the ones who know better? how will they know? ironically, even your own post is how three years too late.
(and it could be even posited that your stories were published not because they were specifically spec fic but because they were “good” stories despite the non-realist mode of writing. so even saying that spec fic stories could be published before 2005 is a tenuous statement.)
just the last word:
I’m sorry if this is a bit harsh also but I do think that your last few paragraphs comes across as a bit patronizing. Just because some writers would want to write for entertainment’s sake doesn’t mean that their writing is of a lower level. This is part of the perception that the “literary”– admittedly a misnomer but with all its cumbersome context– is what matters in this country and what hinders a number of writers from actually striking out on their own. (Or even reading local literature for that matter.)
I’m not saying that a “newbie” writer shouldn’t grow thicker skin. However, this is not helping them any.
May I point out that Pam wrote about academic research, and not creative writing per se? Technically, it’s writing for school, which comes with its own restrictions, of course.
Although I see your point – perhaps other writers grew up feeling they were in the wrong by choosing less “serious” genres to be interested in. I certainly didn’t, though; I always felt like I had total freedom over the things I wanted to write about, as long as they were not for school or work, or anything or anyone else.
I hope you understand – even if I really admired Sir Butch and what he said struck me like a slap in the face (I’m sorry, sir, but it did!), I never stopped writing fantastic fiction. Or stopped liking it, for that matter. I truly respected him for speaking his mind, but even when he said it, it came to me as the opinion of one person, not an entire industry. It certainly didn’t make me feel ashamed or guilty, or convince me that I should stop writing fantastic fiction altogether.
Now I acknowledge that some people may have suffered long and hard under the impression that science fiction, fantasy, whatever was not welcome in the local publishing scene. However, I fail to see how my saying this now could come across as “harsh.” I think it’s much more unfair to make them think that it’s only NOW, all thanks to the new publications cropping up, that they finally have the freedom to write whatever they want. We have always had the freedom to write whatever we want, and even to get printed – as long as we meet the standards of our target publications.
Young writers now still have to meet the new publishers’ standards… so what’s changed, apart from the fact that we now (thankfully) have more publications? I honestly see nothing harsh about this, I’m just trying to set the record straight.
You’re very kind to suggest that my stories were printed in spite of being speculative in nature, but I dare not presume I am an exception to any rule. I have always believed that all fiction publications strive to satisfy a readership, even the ones that attempt to cultivate a sense of “literariness”; they print stories that they think their readers would enjoy.
And here I’d like to stress my point: If you feel that your story is also something that the readers of a certain publication would enjoy, and there are NO guidelines expressly stating the kinds of works that you CANNOT submit, you should be braver about submitting. Ask yourself if you’re just making excuses for being too afraid to try.
But please note: I’m not disputing the fact that we’ve featured more realist work than genre, especially in predominantly English-language “highbrow” publications. I’m only arguing the notion that Filipino genre or speculative writers NEVER had the freedom to exercise their imaginations and their talent in prose before recently. I never saw the need to write about it before now, because it was honestly never an issue for me.
I can only speak from my end, of course. Perhaps it will be good to get interviews from the editors and publishers of non-genre-specific English fiction magazines from before 2005, to see if there was indeed outright discrimination against genre, or if there were simply very few genre submissions, or both?
***
As for that second part of my post – I was genuinely surprised when you said it sounded patronizing. Upon rereading, I actually thought it sounded kinda mean. But I hope to better explain where I’m coming from here…
I write for fun and I write for publication. I try to keep those two activities separate, because I tend to take the latter a lot more seriously. I regard published works highly, if only because I’m familiar with the effort put into getting them fixed up, printed, distributed and read. Not to mention I usually get paid for them.
So when I say “write for fun,” I do mean write without regard for literary merit. This is no indication of whether or not your piece is good, but also no indication of whether or not your piece will be accepted for publication, or even read. I’m only asking whether or not a writer cares about these things – about publication, readership, critical acclaim, all that jazz. Because if a writer does, then s/he’d better be prepared for the challenges involved. And be prepared to stop thinking of writing as the easygoing hobby it used to be.
Yun lang. It’s barely relevant to spec fic, when you think about it… but I still think the question should be out there always.
Thanks for the interesting discussion. It’s good to know that people don’t have to resort to snarky, nitpicky comments in order to sneak in their points. (Sorry, am not referring to you.)
It’s not your admonition to writers that I find harsh: I would actually agree with you there in that they have to be tougher than they are to survive submitting their stories. What I found stinging was your assessment that writers believe such an idea:
“… that local publications WILL NOT accept your work if you don’t write with Filipino elements, or if you don’t write in a realistic style. I know it’s daunting enough to submit anywhere, especially to national magazines… but please.”
It’s one reason for a young writer to not submit to a publication because he believes the story won’t get published because of its non-realist elements. It’s another if it’s because the story is altogether not GOOD to begin with. The editors aren’t talking to begin with so how will the writer know? He sees no one else writing about non-realist stories and he gets this wrong impression because most of the stories published are realist fiction.
And that I think is my grief: who will know that non-realist stories were being submitted AND being published before 2005? Prior to 2005, no one else was talking or advocating that they’re writing non-realist stories. Yes, previous to 2005, spec stories were being published. But like the proverbial light under bushel, nobody else knew about it. What then is the use of talking/writing about spec fic if no one heard it? Yes, there was freedom to write what you want then. But proudly saying that I write my own and not what authorities dictate, not so much. So where is the freedom there for the rest of us?
I know you had no obligations to other writers to tell them of what you write. That you had no duty nor reason to go out and proclaim yourself as someone who writes non-realistic fiction. After all, writing and publishing is a hard life. No one is going to hold your hand after you cry your eyes out from the nth rejection of your story.
However, our craft is already solitary work. Why do we have to separate ourselves from our community?
As to your other points:
**”May I point out that Pam wrote about academic research, and not creative writing per se? Technically, it’s writing for school, which comes with its own restrictions, of course.”
Yes, but I’ve talked to other people who were in creative writing courses in college and they came up against the same mental roadblock.
**”I truly respected (Butch Dalisay) for speaking his mind, but even when he said it, it came to me as the opinion of one person, not an entire industry. It certainly didn’t make me feel ashamed or guilty, or convince me that I should stop writing fantastic fiction altogether.”
That’s true that he’s one person. But you also have to admit that one person, with the weight of a literary reputation behind him, can make a difference to a writer’s resolve to write. You can fight; and I would bet it was heavy going, yes? After all, as a person you respect a lot, you would be essentially “slaying your father” by going against the person’s advice.
**”I have always believed that all fiction publications strive to satisfy a readership, even the ones that attempt to cultivate a sense of “literarinessâ€; they print stories that they think their readers would enjoy.”
Actually, this is nitpicking but publications publish stories the editors enjoy. As gatekeepers, the editors just hope that what they like, the publication readers also like.
**”I’m only asking whether or not a writer cares about these things – about publication, readership, critical acclaim, all that jazz. Because if a writer does, then s/he’d better be prepared for the challenges involved. And be prepared to stop thinking of writing as the easygoing hobby it used to be.”
Funny enough– and I suppose here is where the phrase ‘different strokes for different folks’ comes in– I do care about all that “jazz”. However, writing is still about fun for me, about not taking it seriously. Because if I wanted to take writing seriously, then it would be too much like work and I should then concentrate on my real job instead because at least it pays better.
…
One last question: we like to say we’re concerned about Philippine Speculative Fiction and/or Philippine literature, i.e. writing.
But what are we doing about the Filipino writer? How are we encouraging him or her to write, whether with the realization that he is a Filipino writer or not?
I was content to just watch this very interesting debate from the sidelines, as it were, but I realized I really wanted to answer Joseph’s “one last question.” :)
But first —
Bhex: “We have always had the freedom to write whatever we want, and even to get printed – as long as we meet the standards of our target publications.”
Yes. Thank you. Yes.
Bhex: “If you feel that your story is also something that the readers of a certain publication would enjoy, and there are NO guidelines expressly stating the kinds of works that you CANNOT submit, you should be braver about submitting.”
Again, a great big YES. My experience, as a writer who started submitting work for publication quite early (I was in high school), is that no editor would ever reject my work on the basis of it being too sci-fi, or magical realist, or whatever. I got my science fiction and fantasy published in Teen magazine, in the Free Press, in the Graphic. And yes, of course that was well before I ever entered the Creative Writing program in UP, well before I ever met Butch Dalisay or Jing Hidalgo or any of the other “big shots.”
Joseph: “Who will know that non-realist stories were being submitted AND being published before 2005?”
People who were actually reading and following publications like the Philippine Graphic, which in the mid-90s was not only publishing examples of what would now be called “spec fic,” but awarding prizes in its annual contest to stories with subject matter like virtual realities and impending apocalypses.
Joseph: “Prior to 2005, no one else was talking or advocating that they’re writing non-realist stories.”
Prior to 2005, what did not exist was an organization/ community that was 1. devoted to “spec fic,” 2. seeking literary legitimization (as Adam David points out in
his blog), and 3. active, well-organized, and promoted constantly through a variety of media.
You had hordes of aspiring writers working in that mode both outside, and inside, the CW programs: UP’s CW 111 is devoted to writing “non-realistic” fiction, and it’s a course EVERY Creative Writing student takes. You had a thriving fan fiction community. Hell, whatever you think about the Palancas, you had the “Future Fiction” category from 2000 onwards, which, whatever its flaws, *did* encourage the writing of science fiction.
Joseph: “Actually, this is nitpicking but publications publish stories the editors enjoy. As gatekeepers, the editors just hope that what they like, the publication readers also like.”
(I will nitpick too.) This is true to an extent, but as an editor, I can say that I’ve often published work that is not to my taste personally, but that I recognize will appeal to the audience of my publication/s (and that of course lives up to the standards of the publication).
And finally, here we go with the One Last Question:
Joseph: “One last question: we like to say we’re concerned about Philippine Speculative Fiction and/or Philippine literature, i.e. writing. But what are we doing about the Filipino writer? How are we encouraging him or her to write, whether with the realization that he is a Filipino writer or not?”
By example. By writing the works we need to write and getting them out there. At the end of the day, that is always the best and most honest way for an individual writer to encourage others to write.
Of course there are people who put up programs, offer prizes, provide venues for publication, hold gatherings, and so forth, and I applaud them for the good they may accomplish. But as writers — not as administrators, organizers, publishers or philanthropists — we write.
We write the best material we can, as much as we can. And whether we end up inspiring others by showing them what the market can be made to accept (and how the nature of the market itself has changed), by changing their idea of what makes a Filipino story Filipino, by affecting them with the truth that is in our work, or even by infuriating them with what they may perceive is sheer ineptness — that is “what we are doing about the Filipino writer.”
@ bc – Alas, I think I am very bad at snark XD
Different strokes, as you say – so this, I believe, is how I am helping new writers. I try to promote their work as much as I can (and I should be doing that more often online; word of mouth doesn’t get very far alas), and I tell them that it’s okay to write and submit your speculative stories to local publications. Regardless of your story’s theme, it could still meet local publications’ standards.
I believe you can encourage writers even without coddling them, especially considering the harsh realities of publishing anywhere. Even if you write what you want, nothing can stop editors from rejecting your stuff, or readers from saying they don’t like your work.
There’s one thing I wish to say, BC, regarding “community” – I don’t want to put down writing groups in general, because I sincerely believe they may be of help to some aspiring artists… I can only speak for myself, and I can only say that personally, I’m fine with writing being solitary work. I really wish I could extend more sympathy to the poor Creative Writing students who felt stifled because they couldn’t write what they wanted, but I don’t believe sympathy is the best thing I can offer.
Yes, there was freedom to write what you want then. But proudly saying that I write my own and not what authorities dictate, not so much. So where is the freedom there for the rest of us?
This, I think, is exactly the point I want to bring up: why was there a need to proudly say that you write your own and not what authorities dictate? Why the need to rebel, if your prose has always had a place in local literature?
I have nothing against making a push for the fantastic. I am in fact elated that more people are being aware of fantastic fiction in the country, and of the increased avenues for their works. However, I have something against saying “you could not have done this before” because, you know what – I believe a good space opera would have cut it in “serious” publications, if anyone had ever tried writing and submitting it. It would have been novel, even if it had not started a movement; it would have been awesome and it would have been there. (And I’d be pleasantly surprised if such a thing had actually existed. To be honest, I need to do more research into the history of spec fic as well.)
I’m only expressing my discontent at anyone saying something like “if not for us, writing whatever you want would not have been possible,” because well – that is simply untrue.
Actually, this is nitpicking but publications publish stories the editors enjoy. As gatekeepers, the editors just hope that what they like, the publication readers also like.
Well… I have a high regard for editors. Besides being burdened with the responsibility of making sure a piece of fiction is grammatically correct, they also have the responsibility of deciding what sells. Ideally, an editor is experienced and trained in spotting what style of writing appeals to the readership and what doesn’t: when s/he chooses a story, it’s a professional preference.
That’s why I don’t hold it against editors when they reject my story, and why I don’t make assumptions as to why they’ve chosen which stories to print – publishing is a business, after all, not an editor’s personal playground.
However, writing is still about fun for me, about not taking it seriously. Because if I wanted to take writing seriously, then it would be too much like work and I should then concentrate on my real job instead because at least it pays better.
Well, there are jobs that are fun, right? And frankly, I think writing fiction for publication may be “fun” at the onset, but it doesn’t give one the kind of freedom that one would have if, say, one weren’t writing fiction for publication. If one weren’t getting paid and were just writing to satisfy a small group of people who share one’s interests, for instance – which, I suspect, is what some writers see “spec fic” as. But publication is still publication, and for me, it means being “serious” in some vital aspects.
Many thanks for sharing your thoughts and experiences, Luis! They’re very interesting and enlightening.
And thank you as well for your reply to BC’s “one last question.” That was beautifully said :)
UP’s CW 111 is devoted to writing “non-realistic†fiction, and it’s a course EVERY Creative Writing student takes.
Please forgive my ignorance, but has this class been around for a long time?
I recall that when I was in UP, eons ago, a science fiction writing class was opened to non-CW majors, and the slots were quickly filled up. I felt bad because I learned about it only when my own class schedule was already set. I would’ve really wanted to get in.
I believe you can encourage writers even without coddling them, especially considering the harsh realities of publishing anywhere.
This is why I love you, Bhex. As a writer who is only now trying her hand in writing publishable fiction, even I need to hear this. Because man, we are not special snowflakes.
And also, Sir Luis:
We write the best material we can, as much as we can. And whether we end up inspiring others by showing them what the market can be made to accept (and how the nature of the market itself has changed), by changing their idea of what makes a Filipino story Filipino, by affecting them with the truth that is in our work, or even by infuriating them with what they may perceive is sheer ineptness — that is “what we are doing about the Filipino writer.â€
I loved this, especially last part. Can’t add anything more to it, it’s perfect.
Wow, from a conversation it’s now a discussion. Welcome Luis and thanks for your inputs. (Though some of your comments I’ll let go as I’ve already addressed those to bhex.)
However, before anything else, I’ve just had a realization that may address an issue surrounding the matter. It does seem that Bhex was reacting to a particular point made elsewhere (not me) that it was only post-2005 that non-realist stories were being published. Let me reiterate that this was never a matter taken seriously. Pre-2005, spec fic stories were being published. Whether they were accepted for publication as spec fic stories or not (i.e. good stories worthy to be published) is moot since a number of written works could be (or are) deemed spec fic, i.e. all the way to Greg Brillantes’ stories.
(This “reaching back” or even “reaching out” is normal for pre-Tolkien writings, i.e. Mary Shelley’s Frankenstein, Jules Verne, HG Wells. This is all just name-dancing. But I digress.)
However, what I think needs to be addressed is the impression that people were pushing spec fic pre-2005. Yes, writers were making their own effort to write spec fic pre-2005 but as metaphors go, they were making drops in the publishing market bucket that was mostly composed of realism. Yes, they made their effort to have spec fic stories published. But the question still remains: who knew outside the writing community?
Both of you are talking from the lens as graduates and/having taken college writers courses/ even wanting to be a young writer like Luis and was thus informed by the writing/literary community. But not all of us have been gifted or were lucky with that same perspective.
I give myself as an example: I never knew that Phil Graphic had a fiction section. I knew that Free Press published primarily realism and given their output of an issue once a week, I wouldn’t know if ever they did come out with a spec fic story. (Besides that, if I ever wanted to read FP, it would be to read it as FP and not as a literary market.)
I’m not sure though about your comment of ‘hordes’ of aspiring writers writing outside the mode. However, I did hear that Sir Emil Flores would have his SF class every now and then. Is that what you meant by the regular CW class of non-realism writing? I wouldn’t know: I graduated from Pol Sci in UP but took up writing 7 years after the fact. If I didn’t know it was possible to write spec fic, I wouldn’t have tried. It’s that simple.
As an another example, I’ll cite you Luis. I didn’t know anything about your publication history except from your latest book of essays. Because of this, the fact that you write spec stories wouldn’t have registered with me because– I didn’t know about it. You didn’t say anything about it. And I only found out because I read your story in PSF3 which I liked. See? If I saw your book of essays, I would think: ah, an essayist. I wouldn’t think of trying out your short fiction because I had no experience reading those. As for trying different writings of writers, it could be others would this but though I like reading Jessica Zafra’s columns, books and essay, I haven’t read her fiction and I have no motivation to because it’s her essays that make interesting reading for me.
Going back to my point here: there is no ease of access to writing in the local community. That’s fine, that’s how life is: there’s no easy way to do things. However, I don’t think you should begrudge new writers now advocating spec fic their chance to write the stories they want. I’m sorry to say this but your comments seem calling them as Johnny-come-latelys because you were already “writing spec stories in the ’90s”. I mean, WTF?
We’re all in this together, we’re making this writing space together. Why all of a sudden this claim for hierarchical space?
As for your last comment:
“By example. By writing the works we need to write and getting them out there. At the end of the day, that is always the best and most honest way for an individual writer to encourage others to write.
Of course there are people who put up programs, offer prizes, provide venues for publication, hold gatherings, and so forth, and I applaud them for the good they may accomplish. But as writers — not as administrators, organizers, publishers or philanthropists — we write.”
Yes, that’s true: writing encourages others to write. But that’s the thing: we talk the talk but we don’t walk it. We say we encourage others to write but we don’t talk to these writers. Our fellow writers end up being alone because we don’t want to stretch our hands out to each other. Remember the cliche, united we stand, divided we fall. As writers, this is so true.
Just to clarify: this is not literally an act of reaching a hand out. This may come in terms of movements, websites like Phil Spec Fic (thanks bhex!), discourse by similar-minded people (even though not everyone will agree with other), proclamations by people and letting them know that they are not alone, or even by comments in this blog (as evidenced by Kristel’s comment to Luis).
This is reaching out. If writing is all about the solitary work, then why allow yourself to be published? Why let your work out into the open? Everything would be just self-masturbatory. But the fact that you submit yourself to the writing process (writing, submitting, publishing, criticizing) means that you don’t consider yourself in a void but in a community. You can’t have one without the other.
Going back to my point here: there is no ease of access to writing in the local community. That’s fine, that’s how life is: there’s no easy way to do things. However, I don’t think you should begrudge new writers now advocating spec fic their chance to write the stories they want. I’m sorry to say this but your comments seem calling them as Johnny-come-latelys because you were already “writing spec stories in the ’90sâ€. I mean, WTF?
We’re all in this together, we’re making this writing space together. Why all of a sudden this claim for hierarchical space?
Because it’s done at the expense of oversimplification regarding the previous publishing atmosphere in the country to the point of demonizing it? It’s not the heirarchy that’s the problem (I support Bhex’s essay and even without any claim of my own to the heirarchy) it’s the reductionism. Like, people not even acknowledging the existence of sci-fi stories in Liwayway from a few decades ago. Or Rosario Cruz-Lucero winning the Free Press Literary Prize in 2003 for “The Oracle of the One-Eyed Coconut” a story with decidedly surrealistic elements. I actually read that when it came out in the magazine, in high school. One of my teachers in showed it to me. She also wrote “The Death of Fray Montano, Conquistador of Negros” where she wrote obliquely about people doing it like bayawaks. The space has always been there, waiting for people to lay claim on it.
Though I would concede that maybe it’s only now that people (aside from Bhex or Luis and others, I guess) are finding the courage to give these publications a shot. That’s something I won’t begrudge anyone.
Ah, and there’s the crux of it. And that’s two points you’re making: previous works and publication.
Like I said before, spec fic as works were already coming out all the way to Greg Brillantes. And spec fic by its nature is openly retroactive so that previous work can be cited as such.
Who exactly made the oversimplification about previous works? Is this a general consensus from the post-2005 writers or something you’ve picked up from a comment or post?
In the matter of demonizing publications… so when budding writers express their fear of submitting to a publication, you… snark them for it? And you only concede to them their courage? Nicely done then.
Dominique Cimafranca’s “Twilight of the Magi” and Vin Simbulan’s “The Last Stand of Aurundar” are high fantasy, unabashed sword & sorcery stories that feature far-flung worlds and not a Filipino in sight. Yet these are, arguably, examples of Philippine speculative fiction. It might not be the type of stories that the literati or the critics might want to be published yet a) it’s written by Filipinos, b) published by Filipinos, c) read by Filipinos, and d) appreciated by Filipinos. (Charles Tan)
… There are actually authors and publishers stating “we want your spec fic stories!” There is undeniable encouragement opposed to passivity (at best) or discouragement (at worst). (Charles Tan)
I knew that Free Press published primarily realism and given their output of an issue once a week, I wouldn’t know if ever they did come out with a spec fic story. (Besides that, if I ever wanted to read FP, it would be to read it as FP and not as a literary market.) (Joseph Nacino)
If you see it appropriate, please tell me that I’m wrong with my assumption that you yourselves have/had very unfavorable perceptions about what Free Press et al will accept. Or that the current trend of publishing done with a speculative/genre bent is presented as a counter-culture phenomenon.
In the matter of demonizing publications… so when budding writers express their fear of submitting to a publication, you… snark them for it? And you only concede to them their courage? Nicely done then.
Would it make you feel better if I snark in verse form?
(Seriously though, do you believe that it is the reader’s job–I’m speaking form myself specifically, not for my group–to hold writers’ hands? To be circumspect with their words for fear of discouraging them? Why?)
Eh. You’re still mixing your arguments as you’ve cited examples of “demonizing” publications and not about previous works being slammed for being non-genre. You have to read my question carefully.
But to be fair, let’s address your points. Mind we’re taking this in context of your example and not in the context of Charles’ statements. I’m too tired to go back to the post and what he was originally saying. We shall, say we say, take it from your perspective. ;-)
(a) Charles Tan statement and the point highlighted in it. To be honest, Charles doesn’t really go out and say it here. Dancing around with two “might” words in one sentence? Mmm…
(b) I’m trying to parse what Charles’ statement though I’m guessing that you think that Charles was referring to authors and/or publishers passively or actively discouraging. Why yes, I know two stories about this– three if we take bhex’s own experiences with Butch Dalisay.
(c) Ah, she throws my own statement back at me! Let’s see what she has!
“I knew that Free Press published primarily realism and given their output of an issue once a week, I wouldn’t know if ever they did come out with a spec fic story. (Besides that, if I ever wanted to read FP, it would be to read it as FP and not as a literary market.)”
Why, yes that’s my opinion. Remember, I didn’t come with a literary background like some other writers. My only experience about writing is reading books. I had zero experience about it. So when I casually leaf through FP and this is what I see, I don’t think: “Cool, a literary magazine.” No, I see a magazine that does political issues of the day. Is that an unfavorable perception? Maybe, though I would think it more of an apathetic one. Why would I bother with FP? I don’t know anything about it except for what I see on the racks. Free Press Award? One of the country’s finest literary magazine? I had no idea until I started writing and talking to writers. Before, I was the perfect picture of the Filipino market– untapped by the local literature because I had different concerns. *shrugs* What do you do? What can you do? And you ask why Filipinos don’t read local stuff? (Well, yes they do. Just ask Bob Ong. Or Jessica Zafra for that matter.)
Now here’s an interesting thought that need– no, demands– some study:
“Or that the current trend of publishing done with a speculative/genre bent is presented as a counter-culture phenomenon.”
Ah. Here’s my *ehem* counter-question: Why do you think this is? Is it– as you say– a counter-culture phenomenon? And why do you think that a counter-culture phenomenon has started to come up? Do you think it’s wrong or right that there is such a phenomenon? Do you think it’s just all show and flash (as you say, ‘presented’) and not the real thing? Why?
(And please don’t tell me you can’t parse my answers from the above questions. I’m thinking you’re smarter than that.)
As for snarking, no. I believe that if people have something intelligent to say, they should say it. But if they’re trying to be smart and witty then they’re trying to hard. This also addresses your last question.
(Actually, your snark link/comment would have worked better if you were the one that had come up with it. As it is… try again.)
A little random, but: Should this lowly reader assume that writers shouldn’t be criticized/questioned/prodded in any way at all for fear that said writers will keel over and die (or, a little more entertaining, blow up in righteous, defensive rage) at any little thing? I think I would like my writers with more spine than that.
@ bc – I’m sorry this doesn’t address your discussion with Kristel. I’m afraid this comment took me time to compose and I was only able to respond to the points you made in your latest comment to me and Luis.
For the sake of setting this matter to rest, I’m admitting I was prompted to write this post, especially the second part, by what EK wrote on her LJ. However, Charles has clarified that he does indeed think writers have been “discouraged or ghettoed” in the past, so I believe this discussion, exclusive of the post itself, is still worth continuing, with reference to what Charles originally wrote.
However, what I think needs to be addressed is the impression that people were pushing spec fic pre-2005. Yes, writers were making their own effort to write spec fic pre-2005 but as metaphors go, they were making drops in the publishing market bucket that was mostly composed of realism. Yes, they made their effort to have spec fic stories published. But the question still remains: who knew outside the writing community?
Before the Internet, not a lot of people, I admit. However, now that the Internet is here, it’s time to make people more aware of what was published before and during 2005, alongside what’s being published after it, don’t you agree?
Online promotion is not solely the province of the new writers, after all. I’m curious: why must you presume that just because we’re talking about work that was published before the Internet became a household word, we aim to make the efforts of newer writers look bad?
Going back to my point here: there is no ease of access to writing in the local community. That’s fine, that’s how life is: there’s no easy way to do things. However, I don’t think you should begrudge new writers now advocating spec fic their chance to write the stories they want.
BC… I’m honestly puzzled how you could find what I said in this post “discouraging.” I’m not telling newer writers not to write, I’m not saying fostering a sense of community is not helpful, and I’m certainly not putting down your spec fic movement. I’m only saying that I lately realized that some Pinoy writers have been under the impression that they could NOT have made headway in the local literary scene with their speculative fiction. But I believe it’s time to stop thinking like that, and to accept that the avenues for their preferred genres have always been open to them. That is simply stating my point of view, it’s not even bullying anyone to agree!
We must also consider our international readership, who may be given the impression that the local literary scene has been inhospitable to speculative fiction. While it’s true that it’s only recently that there’s an aggressive push for speculative fiction writing, I don’t believe one or two teachers who discouraged spec fic writing would make up an entire oppressive force.
Personally, I’ve had more teachers encourage me to keep writing, without dictating the theme/s I should be writing about, than teachers who discouraged me from writing spec fic in particular (I can name only one). Hence my all-consuming need to share my personal publishing and academic experiences… even if, alas, it seems to have made you think I was purely craving attention.
Long story short, BC, this post was meant to defend our local literary traditions, and not meant to attack anyone specifically. Unless you’re explicitly saying that the local academia and publishing industry were maliciously fencing out speculative fiction writers. Then this post was meant to attack you.
If writing is all about the solitary work, then why allow yourself to be published?
Hm. I don’t know about the other writers out there, but I allow myself to be published because 1) I’m driven to share something I finished and liked, and 2) I hope to be able to contribute something to the fiction industry. There is also 3) I need the money, but I somehow don’t think that’s relevant to a discussion about publishing fiction in the Philippines XD
I’m speaking honestly here: I’m happy with publishing being mainly a one-way street. I think feedback is nice, but not necessary. The same goes for criticism and encouragement from other writers: I’m grateful for it when I get it, but I can live (and write) without it. And of course, people are free to say what they liked or did not like about my work – I am free not to listen to them, at my own peril. I don’t appreciate being required to give feedback on someone else’s work if I don’t feel like giving it, either.
But please note, these are personal standards, not something I impose on everyone else. I feel that having a community is sort of overrated – but that’s because I’m a hermit.
Both of you are talking from the lens as graduates and/having taken college writers courses/ even wanting to be a young writer like Luis and was thus informed by the writing/literary community. But not all of us have been gifted or were lucky with that same perspective.
BC… I’m disappointed to hear something like this from you. Please don’t assume that people like Luis and me, who started off early, were lucky enough to have been spared our own share of difficulties.
I only posted the challenge at the second part of my post because I want to know exactly where the writers affiliating themselves with the spec fic movement stand. If it were only up to me, I want to see you, and every other talented writer just entering the literary field through spec fic, as an equal competing for limited publication space with me – not someone who feels s/he deserves a little slack.
However, if you want to be regarded as someone who deserves to be given publication space just because you’ve never had it before, regardless of the quality of your work, kindly say it outright. That’s all I ask. I’ve already told you how I feel toward writing for publication vs. writing for fun.
Eh. You’re still mixing your arguments as you’ve cited examples of “demonizing†publications and not about previous works being slammed for being non-genre. You have to read my question carefully.
I was giving examples of the oversimplification regarding the publishing atmosphere ie. what Free Press pre-2005 et al accepted or didn’t (you asked for examples…?), not the demonization per se. I did say those phrases, right? I’m unclear about what you think my position is.
Why, yes that’s my opinion. Remember, I didn’t come with a literary background like some other writers. My only experience about writing is reading books. I had zero experience about it.
And did I? Dude, you’re talking to a mouthy twenty-one year old who has too many opinions for her own good. I’m younger than you. I don’t have writers in any of my two family lineages. The first books I read came from school libraries. My father is a seaman who thinks gazing into a computer screen all day and writing is not a real job. Are family circumstances really relevant? Really, really? Let’s try credentials. I am not a published writer, I have not seen my name in any Table of Contents. In every agency you can possibly think of, you are probably more privileged than me, and you can also effectively tell me to shut up because I don’t know what I’m talking about. Except maybe being an English Lit major. Oh wait, I don’t have my degree yet. Quoting you, “Try again.”
There are questions before this last one I know, but I’ll probably think more clearly in the morning, possibly with some booze.
Do you think it’s just all show and flash (as you say, ‘presented’) and not the real thing? Why?
If I thought that it is all show and flash I would have stopped to talking you (or anyone) about this in the first place. But that’s my folly. I’m not sure, of all your perceived oppression against the imaginative writer, don’t you think that the most cutting insult of all is total silence?
I linked to that poem to make a point, but I guess I should have made myself more transparent. Which is this: my “snark”? Compared to the possible, is nothing.
A little random, but: Should this lowly reader assume that writers shouldn’t be criticized/questioned/prodded in any way at all for fear that said writers will keel over and die (or, a little more entertaining, blow up in righteous, defensive rage) at any little thing?
No! Where’s the fun in that?
I think I would like my writers with more spine than that.
This lowly reader wholeheartedly agrees.
Thank you very much, Bhex, and Kristel, and BC/Joseph. :)
I considered not commenting again because I felt that, essentially, I had already said what I needed to say. Also, sometimes things have a tendency to work themselves out without one’s interference. For example, Joseph, you said in your first comment: “So even saying that spec fic stories could be published before 2005 is a tenuous statement.” And yet in your most recent comment you say: “Let me reiterate that this was never a matter taken seriously. Pre-2005, spec fic stories were being published.” Problem solved.
First, a note on CW 111: this course, which was usually called “Non-Realistic Fiction,” has been around since at least the very early 90s. It is offered every year, since it is the Fiction 2 course, and pretty much all the CW students take it. I took it under Butch Dalisay (the result was my alternate-worlds story “Postcards”), and I even taught it myself, in 2004. It’s a separate thing from the science fiction class, which I think is only offered sporadically, depending on whether Emil Flores or someone similar is available to teach. Basically, everyone in the class is expected to write a story or two or three that is outside the realist tradition, whether it is a work of science fiction, or an updated fairy tale, a metafictional brain-teaser, or whatever.
But I think some of my statements may have been misinterpreted, so here I am again.
“But the question still remains: who knew outside the writing community?”
As I said: I WAS outside “the writing community.” I started writing for publication in high school. I grew up with no close relatives who are writers or even literature teachers. I was not even aware of the writing community until I actually shifted to English. My background is in the sciences: I attended Philippine Science High School, and was a Mathematics major for two years before I shifted. By then I had already been published in a number of venues, including the Graphic. I’m not showing off here; I’m saying that this awareness was there for the taking. You don’t have to be part of a writing community to know what’s out there. You just have to be a reader.
“However, I don’t think you should begrudge new writers now advocating spec fic their chance to write the stories they want. I’m sorry to say this but your comments seem calling them as Johnny-come-latelys because you were already “writing spec stories in the ’90sâ€. I mean, WTF?”
WTF indeed. I respectfully submit that this would be you overreading into what I wrote. If there’s anything I’m sure of, it’s that no one in this discussion is begrudging new writers the chance “to write the stories they want” to write. Quite the contrary. We are in fact saying that they can, and should, and have always had the power to write what they want.
The point of my citing my personal writing history was to support Bhex’s claim that the market was in fact open to this sort of material even then. It was not meant to start a pissing contest. To be honest, I’m surprised at the tone of your comments here, Joseph. I certainly was not calling anyone a “Johnny-come-lately,” especially since I assume that a lot of the people who are getting into SpecFic now were pretty much embryos or toddlers in the 90s, and thus could not be blamed for not submitting to the Graphic.
“We’re all in this together, we’re making this writing space together. Why all of a sudden this claim for hierarchical space?”
As far as I can see, no one made such a claim. Again, saying that I’ve been writing what would now be labeled “SpecFic” since the 90s is not to say that *James Earl Jones voice* I AM BETTER THAN YOU. It is simply to point out that it was possible to get this stuff published then.
“Yes, that’s true: writing encourages others to write. But that’s the thing: we talk the talk but we don’t walk it. We say we encourage others to write but we don’t talk to these writers. Our fellow writers end up being alone because we don’t want to stretch our hands out to each other. Remember the cliche, united we stand, divided we fall. As writers, this is so true.”
Actually, it is less true for writers than it is for, say, politicians, or cheerleaders trying to build a human pyramid. Here’s the thing: what writers really need are readers, not other writers. (If all of your readers are other writers, you may have a problem.) Again, this is not to say forming writers’ groups and the like is not worthwhile — it definitely is, and I made great pains to underscore the fact that I applaud those efforts — but in the end, Dean Alfar is not going to write your story for you. Yes to encouragement, yes to banding together to help each other, yes to sharing books and stories that we love and that may inspire each other, but at the end of the day, while you may draw strength and opportunites from your group, it’s just you versus a blank page, and that’s the truth that every writer, young or old, experienced or up-and-coming, learns to deal with.
And by the way, if you are primarily a writer, then writing IS “walking the walk.” (Talking about writing is talking the talk.)
“If writing is all about the solitary work, then why allow yourself to be published? Why let your work out into the open? Everything would be just self-masturbatory. But the fact that you submit yourself to the writing process (writing, submitting, publishing, criticizing) means that you don’t consider yourself in a void but in a community. You can’t have one without the other.”
Yes, you are part of a community: a community of people, not specifically of other writers. Your obligation is to make sure your work is as good as you can make it, given its intended purpose, so that it’s worth your reader’s while. If you want to encourage other writers as well, then please do so. (And of course, if one wants just to write for oneself or for one’s close friends, that is perfectly valid as well.)
“Everything would be just self-masturbatory.” Okay, aside from being a redundant turn of phrase, this is like saying to a musician: it’s not enough that you came out with a CD and that you gig every week and put up your music on your MySpace — that’s just masturbation. Or telling a mathematician: it’s not enough that you solved Fermat’s Last Theorem and published the results — that’s just masturbation. There may be musicians and mathematicians who actively seek to reach out to potential musicians and mathematicians, and encourage them to enter their fields of interest. More power to them. But unless they have consciously decided to be teachers or administrators, their real work is still the music, or the math.
I’m not saying, “Screw the newbies. Throw them into the deep end and let God sort ’em out.” I’ve taught Creative Writing, for God’s sake. I’ve lectured to dozens of classes — from college students to high schoolers to grade school kids, in schools all over the city — about writing. I’m proud of that stuff, and I applaud people who do that, and much more. But why was I up there in front of those students in the first place? Because I wrote the stories. Because I wrote a book.
Think about why you wanted to write in the first place. Remember what it was like, as a child, reading A Wrinkle in Time or The Chronicles of Narnia or Pop Stories for Groovy Kids or Funny Komiks, losing yourself in the wonder of another world you could enter through marks made on paper. Did you want to write because you wanted to reimagine those characters you loved in new adventures, or even make characters and worlds of your own? Or did you want to write because you knew there was a group of people out there who also wanted to write, who would support you?
In my mind, to believe that you can write whatever you want, SpecFic or realist fiction or epic poetry spanning twenty-eight volumes, regardless of whatever alliances you choose to make, or not to make, is the most encouraging thing any writer can believe in.
And one of the best ways to feel that you are not alone, whether you are a writer or not, is to read something that rings true.
Hello Keh and Mia! I posted my last comment as a direct reaction to BC/Joseph’s October 1st, 2008 10:53 pm comment, before reading the comments in between.
Just read your posts now. Good point :)
@bhex, luis: sorry for the late reply. had a provincial sojourn over the weekend and could not reply properly due to a proper Internet connection.
Actually luis I’ve already come to a proper conclusion that bhex has a very good point about my concern over the pre-2005 issue and it’s true: different strokes, different folks. But more than this, however is the fact that present actions has more significance than past actions for me. ironically, the fact that I’m arguing on a platform set up by bhex (philippine speculative fiction website) tells more about bhex’s concern over the genre fiction despite her avowed hermit stance.
your position also to teach future writers about non-realism writing (which is an eye-opener for me and something I wish I had to think about when I opted out of the UP creative writing program aeons ago) is gratifying to know.
as to your possible conclusion that I was overreading something in bhex’s post, yes I admit that could be true. however, I remember the saying ‘bat-bato sa langit, matamaan wag magagalit’ and something about the tone did draw me out to comment. given that it’s better to raise the issue and draw comments rather than go through life with misconceptions (something that seems a regular occurence in the writing community), that was my risk to take.
more than this actually, I would like to thank you both also for an interesting discourse despite the passion on my end– from bhex who answered my questions sideways and from luis who answered it directly.
(end of part 1)
@bhex: sorry for flooding your comment box, bhex, but I thought it would be better to answer each issue in a separate box rather than a pretty looooong comment in one.
with respect to your issue about demonizing publications, I’m sorry to say that I think it’s a perception (whether misguided or true) that the said publications must deal with by themselves.
as I’ve grown older, I’ve already realized and learned that the literary community is not a one huge group-think conspiracy that is out to ostracize genre. however, at the same time, you also have to realize that the genre community doesn’t have the same group-think. ekmisao, charles, and I come from different backgrounds, different experiences and yet the three of us came to this same sort of conclusion. why is that? it’s not that somebody came up to us and said, “hey literary fiction is out to get you yadda-yadda”. and whatever charles’ fault is, he is not to blame for reporting such feelings. might as well shoot the messenger instead of dealing with the message.
I do have a theory about why this feeling is pervasive/prevalent but it’s something I will have to test out first. what I can do say is that it will take a while before this feeling goes away, probably a generation or so of writing genre fiction.
(end of part 2)
@kristel, mia, keh: I do wish you people would at least read the comments before asking the same questions over and over again. (as I’ve reiterated my answer several times through the comments.)
(and if you really want to get into this, check out my post here on critical discourse:
http://estranghero.blogspot.com/2008/09/curious-cat-question-for-those-of-you.html)
you also have to realize that there is a big difference between discourse (i.e. criticizing text and critical thinking) and personal attacks (i.e. snark). one is a sign of intelligent conversation. the other is nothing but a sign of youth intent on flaming each other over pieces of intent and wordage.
so yes, I expect writers (whether young or old) to stand up for their own against the slings and arrows of criticism. however, be aware that your arguments are also windows to your mind and this been has proven time and time again. so kristel even your example of the snark in verse form only shows what goes on in the writer’s mind– which is disappointing to say the least, Palanca awards notwithstanding.
one last word: you want critical discourse-cum-takedown? check this out:
http://dumavirus.blogspot.com/2008/10/fragstorm-because-i-love-bashing-those.html
If I’m to be brought to task for questions I asked, it would be nice if I actually asked those questions, instead of, you know, my quoting them in reply to someone else.
Ah, terribly sorry. I thought you belong to the same group.
you also have to realize that there is a big difference between discourse (i.e. criticizing text and critical thinking) and personal attacks (i.e. snark). one is a sign of intelligent conversation. the other is nothing but a sign of youth intent on flaming each other over pieces of intent and wordage.
Good monday to you too, bc.
Can you please quote back the examples of snark I have given throughout the exchange? Because I don’t remember slinging any vitriol at you. It has always been my intention that when I offend, I do so consciously, so I’d like to get input on what constitutes snark for you.
I apologize if I wasn’t able to answer your questions satisfactorily, BC. If there’s anything you wish clarified further, please let me know.
Re: being a hermit: I confess I’m interested in the genre and the local writing scene, but my introverted nature has prevented me from becoming more active in get-togethers, discussions and such. For the record, this blog started off as a mirror for the announcements posted in the Phil_SF_and_F mailing list, which I started up in 2002… but thanks to my irrepressible shyness, never built up to be a true “community” of any sort.
I like to be of much help as I can be to other writers. I like to share my stories and read the stories that are shared. But in the end, as Luis has said, the experience of writing is a solitary one for me. Actually, I don’t think I can add much more to what he said.
There’s something else I’ve been wanting to say, BC – sorry it took so long, but I’ve been debating with myself over whether or not I should share information this personal. I wouldn’t say it was exactly easy for me, when I was still starting off. Both of my parents may have been writers, with my father being especially prolific in his time… but besides encouragement, and surrounding me with tons of books growing up, I believe my parents actually did little to affect my writing. They did not read my stories before they were published, they never forced their own writings onto me (I only really learned about my father’s writing when I was in senior year in high school. I first got published before that discovery), and they did not introduce me to influential people who might be willing to help me get my stuff printed, or anything of the sort. They weren’t part of any “community,” either – but they got by on their own merit, and I wanted to toughen myself up to do the same.
As a teenager, I went around newsstands and noted down editors’ names, phone numbers, mailing addresses, and flipped through every magazine I could find to see which publications accepted fiction and which did not. I called up editorial offices, asked around, kept my ears open. Sometimes, even when I included a SASE, I didn’t even get so much as a rejection letter. And I had to keep trying. That was just how it worked.
Now, young people actually have it easy. Even if Luis is right and young writers cannot be blamed for not knowing about the Graphic, Free Press, etc, printing speculative fiction, information now gets around so quickly, and is so conveniently packaged. There’s my writing markets page, for example, wherein the Free Press and the Graphic are among the very first ones listed – or do I deserve some sort of blame for not advertising it in flashing lights, so as to catch more attention? (Although, well – I believe Sir Kenneth has pointed out that it should be on the sidebar on top of being a main menu entry – I’ll definitely work on that. edit: I’ve just done it. Yay for procrastination!) Email also makes it easier, cheaper and faster for editors to tell you that your story was rejected or accepted, and sometimes even why.
Seriously, I don’t think there’s any need to cry foul. If you never knew that speculative fiction could get published in established publications, it’s better that you know it now, than to flourish under the delusion that speculative fiction writers in the Philippines have been “oppressed,” or anything of the sort. You may still flourish, you can still keep writing, but encouraging the belief that speculative fiction was marginalized before the current movement is, I am afraid, is something I personally cannot let slide.
I know this is kind of late, but I just have to thank all of you.
I found myself in this corner of the internet with my trusty guide, Google. Searchwords: Filipino Fantasy Fiction. I’ve been trying to do my creative writing thesis on fantasy for months now, and, thank you all for the wonderful discussion. I had a blast reading every single post, each giving me more of an answer than my professors could ever give. I never knew anyone had published respectable works in high fantasy or science fiction. I always read and continue to read western, although I am trying to read more Filipino. However, I never see anything on spec-fic. I don’t know about the free press or the other publications you guys mentioned and even my professors don’t know what to direct me to.
@bhex
Yes, without the internet I wouldn’t have known that there were actually OTHER PEOPLE who write spec-fic. Imagine that, I’m as cloistered as you. I’ve been writing for eight years since high school and have only recently come into contact with fantasy or sci-fi works of other Filipinos. Searching through the library didn’t help as not a single local book could help me about the community of writers writing for spec-fic or “non-realist” writing.
Again, Thank you all so much. I now know what my thesis is missing and what to right.
Cheers!
hi theo! sorry for this late reply. thanks for dropping by, but i’m afraid this blog is getting to be a bit slow-moving, as i’m offline a lot these days. you might want to bookmark the philippine genre fiction blog [ multiply mirror ] and charles tan’s blog [ livejournal mirror ] for updates on the local and international spec fic scene.
if you’re interested in joining a manila-based writing/reading group that has a strong focus on spec fic, you could check out the litcritters, organized by dean and nikki alfar. their google group has all the information you need.
please check back now and then, though. i’m always happy to help filipino readers and writers any way i can, so i’ll keep trying to be more active in this blog :)
The points raised are not helpful because one can write realist fiction for entertainment and fun, too. Also, given the examples in the list, any fictional work can be seen as speculative fiction. The only exception is the what-if story, i.e., a change made to some real event.
Academics do not discount speculative fiction because Paradise Lost and many other canonical works can be seen as such given the first definition above. If they are not interested in contemporary works, that’s because there has not been enough time for such works to become canonical, and as it is there are already too many works to read. One should be patient and wait for several decades. If you want to wonder what the outcome might be, then consider all of the many speculative works written during the past few decades or even centuries that are no longer read today.