I’ve buckled down the hatches and have really been polishing up my SciFi manuscript. My printout revisions are complete, my rewrite of chapter one is done, and now all that remains to be done is implementing the printout edits into the electronic master copy. At this rate, I’ll be on schedule to finish and submit by the end of May/early June.
So far, the working title is “Heritage Lost,” and at this moment, it looks like that title will stick through to the submission process. I have to say I am relieved. To date, this project has been perhaps my most challenging. It was my first foray into SciFi; I started it after coming off my longtime fantasy series, meaning the characters were strangers to me; and did I say it was my first time writing science fiction! SciFi is hard. I don’t think enough people appreciate all the hard work writers of the genre put in to their pieces in order to create good science fiction.
Now don’t get me wrong, my novel is no where close to being hard SF (I admire writers who can pull off that category), but I still had to put in several hours to create believable planets, species, politics, cultures, technology, etc. that would not go beyond my readers’ suspension of disbelief. And believability is something I hope I’ve achieved, though I will always second guess myself on that.
No, “Heritage Lost” finds itself squarely in the the soft SF category, focusing on societal issues and characters. Of the subgenres, it probably best fits social science fiction and feminist science fiction. It addresses some challenging topics, particularly loss of cultural identity, expansionism, war, terrorism, radicalization, and gender issues — particularly as the series progresses. They are topics I hope I handle well and with the gravity they deserve. One of my main aims when tackling them is to do so in terms that nothing is black and white. People make varying decisions for varying reasons: One person’s wrong is another person’s right.
“Heritage Lost,” as its title hints, deals more with the loss of cultural, even personal, identity than the other themes, which grow as the series progresses. The main character’s personal and cultural identity is a mystery to her, lost in a war she’s too young to remember. Her lack of a past, which she’s ignored for a long time, is dredged up after she rescues a toddler who now finds himself in a similar situation. Along the way, she finds herself losing another identity, her home, her career, and her future.
I’m very hopeful this novel will be able to break into the publishing world, but I realize luck and timing will have to be on my side. I plan to try the traditional route, but I am also intrigued by the indie approach. Stories of success, like “Wool,” make self-publishing seem very tantalizing. “Wool,” for those unfamiliar with it, started as a standalone short story written by Hugh Howey, who later expanded the premise into a series. It became widely popular and was eventually picked up by Simon & Schuster while its movie rights were purchased by 20th Century Fox. And topping it off, Howey still retains full rights to his work, meaning he can still distribute it online. Who wouldn’t want to maintain rights and creative direction of their book?!
Creative freedom and maintaining full rights is very appealing, and I think that would be my main reason for choosing self-publishing, if I go that route. However, I have eight potential leads for the traditional method. First I’m going to submit the book to one of the biggest publishers of the genre. I probably have a snowflakes chance in hell of being accepted there, but I figure shoot high. My list also contains some smaller presses, too.