Thursday, February 11, 2010

February 11, 2010 Links and Plugs

Yay, Margo Lanagan's Tender Morsels paperback is out in the US. Go buy!

And last night's dinner was steak... wrapped in bacon!

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Here's a book from one of my favorite game designers:

The Conqueror's Shadow by Ari Marmell

Wednesday, February 10, 2010

Clarifying Misconceptions on Amazon vs. Macmillan

Every Wednesday, I have an essay or feature article on any topic that catches my fancy!

Titles have power. And in a certain sense, I don't like the title of this essay. Amazon vs. Macmillan is catchy and memorable but it also creates several misconceptions. One of which is that you're either on Amazon's side or Macmillan's side but that's not really the case. For this article, I'm taking a page from Andrew Wheeler's excellent Myths of Amazon/Macmillan (you should all go read it) and counter some of the statements made with regards to the issue.

1) Over at Indie Author, April Hamilton is pretty much saying to authors: blame Macmillan and don't side with them. "It was Macmillan which set forces in motion that ultimately resulted in the removal of ‘buy’ links, not Amazon, and while Amazon's actions in this seem excessive, I still see plenty of reasons for authors to be irked with Macmillan." It continues at how Macmillan's proposed model is harmful to authors.

I have two countering statements here. First, many of the authors aren't really siding with Macmillan more than blaming Amazon. Author Scott Westerfeld has a breakdown here. Another thing I'd add to that is that while Amazon is well within their rights to pull-out any product from their catalog, it would have been great to have given advance notice to Macmillan. But that's not the case here and Amazon simply withdrew the books during negotiations, in addition to pulling out print books (which were not the subject of discussion as far as we can surmise) as leverage.

My second counter-statement here is that the authors who dislike Amazon aren't necessarily fans of the agency model. Some are optimistic about it while others are skeptical. They're complaining about Amazon's actions in this instance, not necessarily of the business model they're using (or the one that Macmillan is proposing).

2) At Teleread, the title says it all: Maybe we should be hurting the authors. It goes on about the plight of the consumer: "Where is the voice of the customer in all of this? What are they doing to try and make things better for themselves?"

The problem here is that authors don't determine book prices--unless they also happen to be the publisher (i.e. self-publishers). Nor do authors, for that matter, have much say when it comes to book covers, and blaming authors for book prices is about as effective as complaining to them about their book covers.

If you want to complain about eBook pricing, the ones whom you should be addressing are publishers, retailers, and distributors (when it's applicable) as they have the most say in determining price. Statements like "Maybe we should be hurting the authors" is simply looking for a scapegoat, rather than addressing the actual problem. At this point in time, the only option authors have in determining price is whether they'd actually sell their book to a publisher or not (and in the case of Macmillan books, those rights have already been sold, and it's not like the author can suddenly rescind the rights just because they're unhappy about the publisher's price point).

3) Michael Stackpole currently has a series entitled Authors Can Be Stupid which touches on the Amazon/Macmillan issue but one of his posts that I'd like to tackle is Please Feed the Authors! "I certainly have sympathy for the authors whose work is caught in this catfight, but this call for readers to go out and buy their books right now is nonsense. The appeals make it appear that if we don’t buy now, these authors will starve."

For the record, what Stackpole says is true: if you buy a book now, the author will most likely get paid eight months down the line (if not later)--pending special arrangements with the publisher (probable for an independent press, not likely for a major publisher). And if you read the rest of the series, Stackpole does mention some benefits for going the eBook route, or even as a self-publisher in tandem with this.

My complaint however is the dismissive attitude he has for authors "calling for support". Well, at least as far as the authors I'm monitoring, none of them have informed their readers that they're dying and broke and need the money now, now, now! Macmillan authors who have book releases in February have cause for concern, mainly because they're working with the traditional publishing model which entails book promotions that end usually on the month of the book's debut. This is problematic because, let's face it, while there are some titles that sell consistently over time, the biggest spike in sales tends to be during the window of initial release. (It can be argued that this is a chicken-or-the-egg dilemma where publishers should promote a book a long time after its release but it's a moot point to an author working with a major publisher.) If a casual reader hears about the book and doesn't find it on Amazon, well, that's conceivably a lost sale. While books aren't as time-sensitive as other commodities--such as comics--it is still an issue.

Granted, there are other factors that might cause a spike in sales, such as your book getting adapted into another medium (such as movies). At worst, this is an opportunity for Macmillan authors to maximize the publicity they're getting (or not getting) and turn around what is typically a bad situation into a positive one. I'm just surprised that Stackpole--who has been a great promoter of his own titles--is being critical of such an action. (Again, I'd understand it if the authors were actually claiming "I'm starving, buy my books now!" but that's not the case. And Amazon's withdrawal of their titles, albeit temporarily, could impact their sales; we'll find out 8 months down the line right?)

An issue related to the Amazon/Macmillan issue that I'd like to tackle is eBook pricing.

eBook Pricing

I've tackled the issue of eBook pricing before (1, 2). Not to rehash much of it, let's look at it from a different perspective. There are two factors that determine the price of a product (any product, not just eBooks):

  1. The cost to produce the product and
  2. Perceived value.

Let's talk about #2 first. Here, the $9.99 price point wins out. We live in a world where people value tangible products more than intellectual property. That's why cases that involve theft of the latter is harder to adjucate than the former. (And to their credit, it's sometimes harder to prove.) And just look at the typical reaction when it comes to eBook prices: people rationalize eBook pricing by saying "I don't want to pay hardcover price for an eBook". Or even authors say "eBooks should be priced less than the print book" but how much exactly, they can't really say. This is an instinctive and gut reaction. And more often than not, it's not rational.

One of the arguments for cheaper eBooks is that the publisher isn't paying for additional costs, such as printing. Yes, that's true. But printing costs around 10% - 20% of the retail price. For a $25.00 hardcover, that drives down the book to $20.00. But most eBook buyers aren't content with $20.00. They want it down to $9.99 (and $9.99 is, in itself, a psychological trick--why not a whole number such as $10.00?).

And then there are other reasons batted around such as publishers not paying for storage space, shipping costs, returns, etc. Again, that's only a percentage of the retail price of a book. But they also neglect to mention factors that sway print books in favor of the publisher. Books for example can be pulped and provide a significant tax deduction. The same can't be said of eBooks.

So when we talk about the price point $9.99, recognize that it's an arbitrary number that consumers respond to, irrationally or otherwise. That's not to dismiss $9.99, but recognize that it's what people are willing to pay for, no matter how much you justify everything else. And to most consumers, this is their paradigm when they talk about eBook pricing.

Tragically, going back to the topic of valuing tangible products over intellectual property, we see the former in play when it comes to the consumer's view of eBook pricing. Readers don't say "I think this eBook is worth $0.99 while that eBook is worth $9.99". Instead, they say "I'm not willing to pay $14.99 for this author's work". They conveniently ignore the benefits eBooks have over books (for example, you get the book immediately when you order it online, as opposed to waiting for it to arrive at your doorstep; or the fact that you can print and make multiple copies of an eBook--and if it can't, well, blame either the retailer or the publisher or whoever's dictating the format) or the fact that what we prize about books isn't that it's a glorified paper weight, but rather the message it carries--the story in the case of Fiction--which should translate whether it's a book or an eBook. (Sure, there are other factors, such as readability, but if eBooks are difficult to read for you, why are you buying eBooks in the first place?)

And then there's point #1. Hardcovers are relatively expensive because while I wouldn't say that the cost to produce the product is cheap, it's modest enough. People's perceived value of it, however, is high, hence warranting the $25.00~$30.00 price tag. (Arguably, the publisher could sell it for $20.00 but that means someone down the line, whether it's the publisher, distributor, retailer or author, is getting less profits.) Mass-market paperbacks, on the other hand, are cheap, not because it's significantly cheaper to produce, but because publishers can sell it in large quantities for its price point. It's the supply vs. demand argument: mass-market paperbacks are cheap because it sells a lot.

Now some consumers want eBooks to be priced the same as mass-market paperbacks. Unfortunately, looking at it from the production cost point of view (which is the paradigm of most publishers), they can't, at least doing so without taking a significant loss. Again, mass-market paperbacks are cheap because it sells a lot. In order for eBooks to be competitively priced as mass-market paperbacks (I include competitively because feel free to shave off the 10% retail price it costs to print the book), eBook sales must equal mass-market paperback sales. But that's simply not the current reality. Compare the number of people with eBook readers vs. the number of people actually buy mass-market paperbacks, and there's already a disproportion in the numbers (heck, I'm even hard-pressed to make the argument that eBook sales equal that of hardcover sales--although I have no hard numbers). One might boast that Amazon's Kindle has sold millions of books but bear in mind that's all the books that have been bought, not any single particular title. That could represent 10 copies sold of each Macmillan title and that's honestly not profitable enough for each book to stand on its own feet.

Those clamoring for $9.99 might claim that it's not significantly costing the publisher to convert their books to eBooks. Well, that's what we call subsidizing:

eBook Subsidizing

Right now, when we talk about eBooks, a lot of them are priced at a point where it's being subsidized. Now I'm not a fan of subsidization because it means that in the long-term, a particular model is not self sustaining. But we'll get back to that later.
  1. Free - Some eBooks are simply free. Cory Doctorow uses this tactic to boost the sales of his print books by having his fiction fall under the Creative Commons License. This is typically part of a publisher's marketing strategy. Note that this is only sustainable as far as the print books are selling.
  2. Reduced Costs via Print Books - Some eBooks are not priced to be self-sustaining. Instead, they're priced in tandem with the publisher's books. The books do much of the selling and the eBooks are there for the few who want them, building good will with the publisher's customer base. Or it might yield some profit for the publisher, but it stops becoming sustainable the moment the publisher dumps its print books. Here, the books pay for the other factors that go into producing a book: the editor, the layout artist, the proofer, marketing, etc. while the eBooks pay the publisher, the author, and the retailer.
  3. Reduced Costs via Some Other Method - This is how Amazon is selling their eBooks. It could be theorized that Amazon is losing out on every eBook it sells if it's priced under $10.00, but that they're making up for it in Kindle sales. Here, eBooks are a loss-leader. (However, read Myths of Amazon/Macmillan as to why this might not be the case.) The other theory is that Amazon is gambling that they'll get significant market share in the future using their current strategy (remember the time when Amazon was giving significant discounts even on mass-market paperbacks? Why aren't they giving the same discounts now?) Either way, this really isn't a model that's universally applicable. Or if you're not in the business of selling eBook readers.

Now there are claims that Amazon is interested in developing the eBook market. That's not exactly accurate: Amazon is interested in developing its own eBook market, and that's the business model it's based on. It's a model that's full of control on Amazon's part (which is why Amazon refuses to disclose the Kindle's exact capabilities, and how they can "pull" books from you such as in the case of 1984, or the sample chapters from Macmillan). Even the format Amazon uses--its own proprietary format that's closed and DRM-protected--is telling. Not that I blame them, mind you, but it's not Amazon's best interest to innovate the eBook market in general, unless it's under their own terms.

Now to produce a book, eBook or otherwise, there are several people that need to be paid: the author, the editor, the layout artist, marketing, etc. If you don't do it all yourself and not having books to subsidize payment for those services, you need to be selling a lot of eBooks to price them cheaply (i.e. $9.99)--which at this point in time is, I think untenable*. Amazon's model works for Amazon because of the reasons that I cited above.

As for the pricing of the other subsidized eBooks, they work fine for now, but if you genuinely believe that eBooks are the wave of the future and that one day, print books will disappear, then publishers need to look to a model that's self-sustaining and doesn't involve subsidies. This means pricing books at a higher rate than what it is now (or growing demand for them), or looking at other business models. Macmillan's Agency model, in my opinion, looks clunky. It does favor print books over eBooks, but it also makes the latter more self-sustaining: there's no loss-leaders involved (and in this sense, Amazon still wins as they're profiting for every eBook sold) and the pricing scheme is more flexible. Is there a more efficient system? Possibly, but a willingness to experiment is, I think, the key to finding one.

*That's not to say it's impossible. If you're selling a short story--as opposed to novels--for example as an eBook, I think that's certainly doable, although some entrepreneurial skills will be needed. Or you could simply be a self-publisher, handling everything from editing to layout to marketing.

February 10, 2010 Links and Plugs

Just want to plug the Apex Book of World SF iPhone App. Not that I own an iPhone...

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And just arrived in the mailbox. Go buy!

A Dark Matter by Peter Straub

Monday, February 08, 2010

Book/Magazine Review: Hobby Games: The 100 Best edited by James Lowder

Every Monday, I'll be doing bite-sized book/magazine reviews.

Hobby Games: The 100 Best is a collection of essays on various tabletop games written by various game designers, authors, and publishers. Each essay is only a few pages long and focuses on what makes that particular game compelling. One could perceive this as one big propaganda book for gaming but honestly, what else would you expect from a title like Hobby Games: The 100 Best?

For the uninitiated, there have been innovations in the gaming industry that goes beyond Monopoly, Scrabble, poker, or chess. This book attempts to enlighten readers, both those familiar with the field and newcomers alike. There are over 100 contributors in this book and their essays employ various styles and techniques. Some take on the persona of the game they're talking about while others, honestly, is competently written but are vague on a few points. What they all have in common however is that they all attempt to summarize the game they're talking about. Hobby Games: The 100 Best could easily be labeled as "Abbreviated Rules to 100 Games". Is that a bad thing? No, it's great a great way of showcasing a game without actual playing it.

Because of the book's agenda, there will be two kinds of readers. Those who've played the games listed here and those who haven't. I'm mostly coming from the latter. While I've certainly played some of the games listed here, the bigger thrill is reading about these games you might have heard of in gaming circles but never personally experienced. And then there are those games which you're ignorant of and hearing about them for the first time here (and since there's a couple of self-published games in the list, that's a likely possibility). In that particular aspect, it succeeds as a gateway drug.

I've also played some of the games listed and after reading the essays, it's rejuvenated my interest in those games--making me temporarily forget a game's shortcomings (damn you Talisman!). Not that the list is perfect, and like any list, there will be some choices which you might disagree with, but overall, it's a good list to start out.

As a gamer, it's also exciting to read the views of legendary designers, especially some who've passed away such as Gary Gygax or Erick Wujcik. The book does double duty in not only enlightening readers about the games mentioned, but introducing to us the various personalities in the hobby field, whether it's game designers or authors. There are also two fantastic essays at the end, one being a secret history of hobby games, the other a brief guide on how to find the games mentioned in this book.

Hobby Games: The 100 Best isn't without its flaws. Some of the games mentioned will be difficult to obtain, either logistically or financially. And if you're looking for perspectives on these games from the female gender, well, you're out of luck.

Having said that, this is still a fantastic introductory book. Gamers might tell you "research this game on Boardgamegeek or RPG.net" or some other website which requires time and effort if you're not familiar with the interface when they should really be saying "read this book." Even veteran gamers will find something of interest here to pique their curiosity.

February 8, 2010 Links and Plugs

I'm taking over the World SF News Blog so do drop by.

Also, RIP: William Tenn (Philip Klass).

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Will order this book soon. A must have. Her mother-in-law's Filipino, so that has to count. =)

Friday, February 05, 2010

February 5, 2010 Links and Plugs

The book launch of Philippine Speculative Fiction Vol. 5 will be on April 24, 2010, 3 pm at Fully Booked, Bonifacio High Street. Do drop by and buy books!

A new issue of Expanded Horizons is out and Lavie Tidhar has a story out, along with Filipino author Anne Abad.

Also, apologies--I've been perpetuating an error (thanks to Andrew Wheeler's post for clarifying): I've been citing Pan Macmillan when it should be Macmillan.

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And from Connie Willis:
Blackout by Connie Willis

Thursday, February 04, 2010

February 4, 2010 Links and Plugs

Just a random plug for Genreville.

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Terrific antho:



Wednesday, February 03, 2010

February 3, 2010 Links and Plugs

It tickles my fancy when someone classifies me under "smart publishing people" =)

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Amazon vs Pan Macmillan
How awesome is Kaaron Warren? Just read Angry Robot's latest news:

Walking the Tree by Kaaron Warren

Feature: Books that Amazon is Missing Out On

Every Wednesday, I have an essay or feature article on any topic that catches my fancy!

This isn't a pro-Pan Macmillian post (or an anti-Amazon post for that matter), but here are some books that's recently released (or will be released) and might not be getting as much publicity because of the recent fiasco. Haven't read any of these books, some are by friends, others are titles I've been anticipating for quite some time.

You buy the books at the following online vendors: Indiebound|Books-A-Million|Barnes & Noble|Borders|The Book Depository

No Sleep Till Wonderland by Paul Tremblay
Tremblay's take on the noir genre and while this novel (at least based on the previous novel, The Little Sleep) isn't speculative fiction per se (as far as a narcoleptic detective doesn't suspend your sense of disbelief), his writing tends to have the genre's sensibilities.

Fathom by Cherie Priest
This isn't strictly a new release but the paperback release of Priest's novel. Priest is one of this decade's writers to watch out for, whether it's her short stories or novels.

Shadow Prowler by Alexey Pehov
I love to highlight world speculative fiction and here's the first book in a trilogy by a Russian novelist. It's also translated by Andrew Bromfeld, who also did the translation for the Night Watch series. Check out the book trailer here.
Your Hate Mail Will Be Graded: A Decade of Whatever, 1998 - 2008 by John Scalzi
For the record, Scalzi's blog is on my feed. I don't always agree with the man, but I do find his entries insightful. If you haven't been reading his blog, this book is the best time to check him out. And if you do read his blog, well, here are some of his best hits.

Warriors edited by George R. R. Martin and Gardner Dozois
Maybe I'm cheating: this anthology doesn't come out until March. But it's George R. R. Martin AND Gardner Dozois. And the contributor's aren't anything to sneeze at either. Did I mention it's 250,000 words? That's one big antho.

Dust of Dreams by Steven Erikson
Here's something for you epic fantasy fans--the type that wants their series in the two digit range. We're now at book nine! The end is near.

Steal Across the Sky by Nancy Kress
It's Nancy Kress yo! And the book comes out in both paperback and hardcover this month. Where are the female SF writers? Read Nancy Kress.

The Revolution Business by Charles Stross
Well, I'll be the first one to admit that I've never read any of Stross's fiction, but I do read his blog. I'd give his novels a shot solely because of that.

The Science Fiction Hall of Fame, Volume Two B edited by Ben Bova
If you want to get acquainted with the classics of the genre, this anthology seems like a good place to start.

Spellwright by Blake Charlton
If you haven't heard of Blake Charlton, that's because this is his debut novel! Why don't you give a new writer a shot? Or read A Dribble of Ink's interview with the guy to help you decide.

The Horsemen's Gambit by David B. Coe
Another paperback post-hardcover release and this is book two of the series. Heck, there's a contest right now in which you can score a free copy of the book if you're so inclined.

Tuesday, February 02, 2010

February 2, 2010 Links and Plugs

Had a 10-hour nap since I got a cold. Seems to be working well for me so far.

Also, one of my favorite favorite writers, KJ Bishop, has a story up at Subterranean: "The Heart of a Mouse".

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Kage Baker Tributes
Amazon vs Pan Macmillan
Here's my preemptive strike against Jay Lake, Lavie Tidhar and Filipino artist Bryan Sola:

Amazon Capitulated My Ass

I have a column up at BSC Review regarding Amazon vs. Pan Macmillan--but it was written Sunday morning (Saturday evening to my international readers) so it's outdated a bit. Here are some points I'd like to add:
  • To readers who aren't in the Western hemisphere, they simply don't care. Filipinos probably don't care, since they still buy their books in brick and mortar stores. (Oh, and the newspaper industry is still alive and kicking here.)
  • To "readers" who read the Amazon Kindle Team's response and are siding with them, I can understand your agitation. The only thing you're seeing right now is "$14.99" and not much else. When you calm down and read what's actually being said, let's talk.
  • "Capitulate" my ass. Amazon still ain't selling Pan Macmillan titles.
  • No one's yet mentioned the ruthless efficiency in which Amazon isolated all the Pan Macmillan titles. (Which is to say Big Brother is here, and we discovered this last year with the similar isolation of LGBT titles. That incident may or may not have been a glitch, but it's apparent Amazon has the means--and has been preparing for it for quite some time.) Edit: Although considering how ISBN works, the filtering system might be simpler here.
  • For the record, Pan Macmillan isn't totally innocent in all of this. (You can read Scrivener's Error's and Andrew Wheeler's take on what Pan MacMillan is proposing.) But what's coming across to me is this:
Pan MacMillan: We want to re-negotiate.
Amazon: Oh yeah? Sorry, you don't ask the questions here, we do. *smashes Pan MacMillan's leg* (in the form of yanking out all their titles)
  • It would have been one thing if Pan MacMillan withdrew their titles from Amazon. That would be Pan MacMillan bullying Amazon (and who says they wouldn't have if Amazon didn't pull this stunt). But Amazon's first folly is making their own preemptive strike.
  • Speaking of preemptive strikes, Amazon did this on a weekend, in line with what they've done in the past.
  • Amazon's second folly was pulling out Pan MacMillan's print books. If this was, indeed, limited to eBooks, then why were the print books pulled out as well? Amazon, of course, is in their legal right to do so, but it's also a blatant bullying tactic:
Pan MacMillan: We want to re-negotiate our eBooks.
Amazon: Oh yeah? How about we yank your print books as well?
  • Oh, and remember Amazon's offer to offer 70% royalties to authors who sign up with them? You forgot to read the fine print (see the Edit part).
  • And self-published authors? You might be content with what you're getting now, but Amazon is making sure that what you're getting paid right now stays the same--if not gradually less. No "raises" or re-negotiations for you too. Being self-published means you're a publisher now, so their problems are also your problems.
  • No one wants a boycott. Boycotts hurt everyone. But here we are, either Amazon fans boycotting Pan MacMillan authors (Really? Can you name me all the imprints of Pan MacMillan, much less its authors? The boycott only works because Amazon's not listing them for sale.) and authors boycotting Amazon. Let me tell you, it's only going to get worse in the next few years. Just you wait until the Google Book Settlement gets "resolved". That's probably another readers vs. authors war (or at best, the public is apathetic to the plight of authors). And Apple ain't a benevolent dictator either.
  • This is all happening behind the scenes. We're only seeing the effects. What scares me is what we're not being informed about. Shades of Philip K. Dick's Ubik.
  • Edit: For more 1984 goodness, sample chapters from Pan Macmillan that were downloaded to Kindles also disappeared. So why is there less of an uproar by the public--as this was a legally-offered book--as opposed to 1984, which was illegally offered?

Monday, February 01, 2010

February 1, 2010 Links and Plugs

It's been an interesting weekend but unfortunately, I don't get a penny for every news item that I report. (And it's been an interesting week overall, considering the other developments...)

The most urgent news is R.I.P. Kage Baker.

The other, in light of Amazon's war on Pan Macmillan, is that the former may actually be capitulating to the latter (but so far the "buy now" button hasn't been restored yet).

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Kage Baker Tributes
Amazon vs Pan Macmillan
New cover!
Tender Morsels by Margo Lanagan

Book/Magazine Review: Real Unreal: Best American Fantasy Volume 3 edited by Kevin Brockmeier

Every Monday, I'll be doing bite-sized book/magazine reviews.


Disclosure: The publisher sent a review copy for the purposes of this review.

It took me by surprise when it was originally announced that Kevin Brockmeier would be the editor for Best American Fantasy Volume 3. Not that I didn't respect Brockmeier, but it was a knee-jerk reaction to change. There was no doubt that the anthology would be different. The question was whether Brockmeier would surpass my preference for the previous editors, or whether his tastes would alienate me. Thankfully, it's the former.

What I really loved about Best American Fantasy Volume One is that it achieved two goals: it introduced me to "fantasy" that I enjoyed--which I'll tackle later on--and it showcased speculative fiction from sources that a genre-exclusive reader wouldn't ordinarily plunder (and opens up the question, is there really a divide between the "literary" and the fantastic?). This volume continues that tradition, with the selections genuinely surprising (in a good way), and is easily one of my favorite anthologies for the year.

First, there's the sources which this reprint anthology draws its material from. There are the usual suspects like Fantasy & Science Fiction and Realms of Fantasy but they only take up a fourth of the table of contents and even then, the selection in my opinion could have been published in non-genre markets. "Reader's Guide" by Lisa Goldstein for example is a metafictional concept story that is, in many ways, an homage to Borges, but actually delivers something new. "The King of the Djinn" by Benjamin Rosenbaum & David Ackert, on the other hand, is gut-wrenching, politically charged, and possesses weight that we normally associate with a realist story.

The real gems, however, are the stories in publications which I normally wouldn't have given a second glance. Take for example The Oxford American which published "The Pentecostal Home for Flying Children" by Will Clarke, which essentially falls under the superhero genre but the author tells a unique narrative that conjures both one's sense of wonder and terror. There's also The Kenyon Review's "The Torturer's Wife" by Thomas Glave which, while being a difficult read, was definitely ambitious, daring, and ultimately, worked for me. Five Chapters gets praise from me as it printed both "Cardiology" by Ryan Boudinot and "The Two-Headed Girl" by Paul G. Tremblay, two very different and powerful takes on the coming-of-age motif. My favorite piece, however, is American Short Fiction's "Serials" by Katie Williams, and while there's nothing overtly fantastical at first glance, a society where serial killers are as common as the next fad requires one's suspension of disbelief.

While I'm not one to nitpick between what falls under fantasy vs. science fiction, Brockmeier in the introduction does make a distinction and justifies his choices, such as "Daltharee" by Jeffrey Ford. Not that I disagree with the editor, but it's something prospective readers need to consider (so don't expect any hard science fiction pieces here). As for the overall story selection, some story reviewers--myself included--might hand-wave a more elaborate discussion by simply labeling it as "literary" fiction but let's dig deeper into what it is about the texts that make us think so. What sticks out for me is the emotional impact the stories have, how the characters transition from one state to another and how, despite the ludicrous situations they're placed in, has a context in our own lives and the real world. Not that this is a hard and fast rule, and there are exemptions, but this, for the most part, is what I find appealing about the pieces included in the book.

The problem when you read too many "best of" anthologies is that the table of contents can be predictable. Real Unreal: Best American Fantasy Volume 3 is a genuine treat as it's not only a source of quality fiction, but a book that showcases stories that I'd have missed.