Jeff Duntemann's Contrapositive Diary

I was nostrils-deep writing Ten Gentle Opportunities and wasn’t paying attention when Sarah Hoyt quietly posted a bombshell: The Human Wave Manifesto. It was actually a manifesto in two parts, probably because I don’t think she intended it to be a manifesto at first. (Sabrina Chase had a part in it too.)

But boy, manifesto it is, bigtime.

I powerfully suggest that you read Sarah’s manifesto (perhaps twice) but I’ll summarize for those in a hurry:

The Human Wave is a resistance movement. It’s a reminder that SFF is about unlimited possibility; i.e., there are unexplored universes lying right outside our own navels. So first of all, it’s about throwing off a 30-year accumulation of Thou Shalt Nots and These Are Necessary Rules that the Insider Alphas of the SFF world have laid down. Back in the 60s we had whole posters printed with just two words: Question Authority. That’s what the Human Wave is about: questioning authority. The Insider Alphas are not authorities. They’re just writers and editors of a certain psychology that always makes a beeline for the levers of power. The Human Wave is under the floor right now, disconnecting all the levers. (If only we can keep them from hearing us giggle…)

Human Wave science fiction and fantasy (SFF) is fiction that deliberately subverts those supposed rules (fetishes, actually) and re-takes what was once commonplace in the SFF universe. The guiding principles of the Human Wave (as laid out by Sarah Hoyt) are in fact exhortations to freedom:

1. Write fiction that entertains; nay, fiction that makes us gasp.
2. Write fiction that celebrates rather than denigrates the human spirit.
3. Write fiction in which characters are characters, fully realized individuals and not primarily defined as members of groups.
4. Write fiction in which the message doesn’t overpower the rest of the story.
5. Write fiction that isn’t eaten by Grey Goo; i.e., fuzzy characters wandering around landscapes of indeterminate importance doing nothing coherent, learning nothing, and ultimately having nothing to say.
6. Write fiction that is upbeat; or if it must be downbeat, make sure it’s at least meaningful and that its insights are worth the downer.
7. Write in a style that can be understood; i.e., don’t let style overwhelm or obscure substance.
8. Write fiction that has internal logic and is faithful to that logic, especially your explorations of science and magic.
9. Write fiction that isn’t boring, since ordinary life does not suffer a boredom shortage.
10. Write what you write best and make no apologies; i.e., just shut up and write!

That’s the best synopsis I can provide. I’ve broadened the concept to include fantasy (the second “F” in SFF) but otherwise have tried to be faithful to Sarah’s intent. I will also add an eleventh commandment:

11. If you have that skill, write fiction that makes us laugh.

What I found heartening about the Human Wave is that it’s how I’ve always written, even if I take it farther than caution might suggest. I have a primal fear of not delivering enough value to my readers. That’s why I throw in dump trucks full of ideas, lots of explosions and gunfights, a little humor even in serious stories, and end with a mayhem-filled action climax. Yeah, I’m an old guy. I learned this stuff basically by reading the best of the pulps. There’s nothing shameful about the pulps, just as there was nothing shameful about 1958 De Sotos. Just as we can now make far better cars than 1958 De Sotos, we can write far better popular fiction than the Fifties pulps. We just have to ditch the shame.

I’ll also add this: Literature is good, and literary techniques can be dazzling in the right hands. I’ve read my share, and in fact have a degree in it, for what that’s worth. My two objections to literary SF are that not everyone has the skill to write it, and even when well-written, it doesn’t work as a steady diet. Let those who can write it, write it. Let’s just not insist it’s the whole picture, or even the worthiest part of the picture. Yes, literary is good. Choice is even better.

So. Where do we go from here? I’d certainly like to see a list of authors who embrace the Human Wave, as well as stories that embrace it, whether their authors ever heard of it or not. Such a list has not been attempted, to my knowledge. Although I’m not entirely sure what I’m going to do with it, I’ve already begun such a list. If you have authors or stories to nominate as part of the Human Wave, please send them along or share them in the comments.

Maybe it’s finally time to bring hardsf.com to life.

Now, although I consider this entry the heart of the matter, I’m not done yet. I’m a little nervous about the last topic in the title. Give me a few days to figure things out, and we’ll wrap this series up.

As I expected, I’m getting some pushback on the notion that SFF has a monoculture problem. So here’s the deal: If you like what’s on offer in SFF right now, there’s no problem…for you. I think it’s a problem, and I’ve begun to hear from other people who also think it’s a problem, along with reading a great many people online (whom I don’t know) saying it’s a problem, and for pretty much the same reasons.

If enough people think it’s a problem, then we really do have an objective problem. Lots of people who used to buy lots of SFF aren’t buying it anymore. Too much of that, and the genre goes into a kind of death spiral. Publishers consolidate, distribution shrinks (and shrinks faster than shrinkage of the retail book business generally) and fewer people find anything that appeals to them, so they drop out. The cycle then continues. We can argue about why this is happening, but it’s happening. I think it’s about monoculture. I’ll hear your explanation if you have one.

What I call social monoculture comes into play here. I encounter it when I go to cons, especially in the midwest: I see the same people I was seeing in the mid-1970s, when I discovered cons. We’re older, grayer, and (alas) more likely to be sick or dead. Young people are scarce. Fandom has no lock on this, by the way. Ham radio suffers from a similar monoculture, though it’s improving now, probably because Morse code has been out of the picture since 2007 and young people are coming to hamming through the Maker movement. ($35 HTs sure don’t hurt!)

SFF fandom has always tended toward cliquishness. Sam Moskowitz nailed it with his old but fascinating book The Immortal Storm, which documents all the fannish palace coups and nerdy attempts to draw lines between True Fans and Mundanes Who Sometimes Read SF, back in the Elder Days from the 1920s to WWII. Half of what I saw in fanzines in the 70s and 80s rehashed all that same material, and SFWA has been obsessed with who qualifies as a “real” SFF writer for decades, which is one reason why I no longer belong to SFWA. (There are others.) I never saw many attempts to welcome obvious newcomers. I have to grin to recall speaking briefly with a young woman at (I think) Windycon 1980, who complained that nobody would talk to her. I spotted her several more times that weekend, wandering around by herself, looking wide-eyed and lost. My guess is that she thought SF conventions were about SF. Well, um, not really…

The problem with social monoculture, especially one dominated by people at middle age or beyond, is that tastes converge on what a relative handful of social alphas deem acceptable. Without a steady stream of new people to challenge the influence of social alphas, uniformity rules, boundaries contract, tribalism emerges, nonconformists are marginalized, and the overall population of the culture collapses.

Industry monoculture may in fact be a consequence of social monoculture. (Certainly, the two feed on one another.) When social alphas work at publishing companies, they become gatekeepers, and their tastes become holes of very specific shapes through which all published work must pass.

Well, there’s a timer running on industry monoculture. Publishing is no longer capital-intensive, and as print book retailers drop off the edge, it’s become less and less distribution-constrained. (Just getting bookstores to shelve our books was a hideous problem in Coriolis’ early years. If we hadn’t had a magazine to do direct sales with, we might not have survived to the Internet era.) Publishing requires skills but not credentials, and those skills aren’t string theory. People I know personally are making money self-publishing, and some here and there are making a lot of money. Obviously, a writer has to produce material that readers want to buy. (Getting your work noticed by those readers is a separate challenge, one I’ll take up over time.) But once you step outside the conventional NYC-dominated world of print publishing, constraints imposed by social alpha gatekeepers pretty much vanish.

So: A spectre is haunting monoculture: the spectre of the Human Wave.

Stay tuned, kids.

A spectre is haunting fandom: the specter of monoculture.

I haven’t done much in SF for almost two years, having spent a great deal of time learning some new technology and then writing about it. (That saga is painful and may end badly, as I’ll explain when it does end, one way or another.) So I come back and begin preparing several things for publication on Amazon, including Firejammer, The Cunning Blood, Drumlin Circus, and a number of my longer stories. As I flip around the screamosphere seeing what’s up after my two-year absence, wow: A rumble has begat a manifesto that begat an attempt to break out of the worst rut the SFF world has ever seen. “Monoculture” is the polite word for a rut so deep that it threatens the viability of an industry. That’s what we’re up against in SFF, and that’s what I’m going to be discussing for a few entries here on Contra.

One warning: This issue makes people of certain psychologies slobberingly, incoherently, hatefully, murderously, roll-eyes-back-in-the-head angry. If that’s you, well, about face, forward march. You are not allowed to be angry here, and if anger is your hobby, you won’t find much to enjoy.

To begin: I read a lot of SFF. I’ve been reading it for over fifty years. Recently, instead of new fiction, I find myself increasingly reaching back to the 90s and prior for things I’ve read not just once or several, but often many times. I do try new fiction, but I rarely finish it. These are the primary reasons:

• It’s depressing. Depressed characters with depressing 10,000-word backstories wander around depressing worlds through depressing situations where nothing is learned, no one is redeemed, and in truth nothing of consequence ever actually happens. (Sarah Hoyt calls these “grey goo stories.”)
• It’s preachy. Good polemic is hard, and should be subversive, not in-your-face. Clever writers can preach via story without being too obvious about it, but sermons in story costumes are dull, off-putting, and in many cases excuses for scapegoating and tribal hatred.
• It’s slow, and talky. I don’t necessarily demand fistfights and explosions on every other page. Still, shut up, put those coffee cups down and do something!
• It lacks ideas. I may be peculiar in this, but to me a story without interesting ideas lacks an SFF soul.
• Humor is nowhere in sight. I like funny SFF. As best I can tell, it’s now extinct.
• From a height, it just isn’t fun. Fun is what we do this for. Fun is subjective, and hard to define, but damn, I know it when I read it.

When I begin reading a new work of SFF, I start a mental timer. If at some point the fun doesn’t start (and that point depends on my current mood and available time) I put the book down and go on to something else. Such books rarely get second chances. I gave Bowl of Heaven a second chance because it’s an idea story by authors with good records, but the fun took a long time to start and really didn’t go anywhere coherent. I haven’t given it away yet, so a third chance is possible, but as it’s the first volume in a saga, I may wait until the second volume actually appears.

I’ve been slowly drifting away from SFF for a number of years. Discussions with people I know suggest that I’m not alone.We’re all still reading as voraciously as ever, but the reading has gone over to other things, especially nonfiction. Nonfiction matters: I’ve noticed that I’ve become a better fiction writer since I’ve become an insatiable nonfiction reader. Fiction, especially SFF, is not 100% imagination. On the other hand, when you set aside a recent Hugo-award winning novel for being tedious and generally lame, well, that says something.

Note well (especially you hotheads) what I’m saying and not saying here: I’m saying that the SFF universe is losing readers because of a steadily narrowing focus on dark, dull, misanthropic, idea-free titles. I am pointedly not saying that such titles should not be published, nor read. What I want is a broad selection. What I am against is monoculture.

Having given it a great deal of thought, I see the monoculture issue in four parts:

• Political monoculture. I hate politics and loathe talking about it, so I’ll let others handle this one. It’s just an extension of the monkeyshit tribal wars that seem to dominate our culture right now.
• Social monoculture. This is tricky, and has to do with the fact that the SFF fan community is aging and grouchy, and young people are for the most part going elsewhere. For example, how many people go to Worldcon? How many to Dragoncon? From what I can see, the dragons have it twenty to one.
• Industry monoculture. SFF publishing has become a reflection of NYC publishing as smaller presses are engulfed and devoured by conglomerates or simply go under. It’s the same people and the same companies working in more or less the same place, with fewer and fewer gatekeepers who are mostly all alike. There’s a time limit on this one, as anybody who’s paying attention can tell. (Much more on this in future entries.)
• Technique monoculture. Critics and gatekeepers lean strongly toward literary techniques, and against techniques that emerged from the pulps, and the pulp descendents that many of us grew up on: adventure, action, and upbeat themes that express the triumph of the human spirit. Yes, characters are critically important. Characters are not the whole show.

Whew. That should be enough to get me in serious trouble for the rest of my next three lives. Heh. See if I care, as I go more deeply into these points in future entries.