Cirsova Publishing Doing Reprints?

I’ve had more than a couple of writers ask me if Cirsova would be interested in buying previously published stories to reprint in Cirsova. Up to this point, my answer has been “No” for several reasons.

  • First, one of the selling points of Cirsova is that we are offering new and exclusive content that can’t be found anywhere else.
  • Second, if a story has been published elsewhere, especially if it has been self-published, that puts a new issue of Cirsova in competition with that work in a way that may not be beneficial to either Cirsova or the author.
  • Third, it would not make sense for us to pay the same rates for a non-exclusive story as an exclusive story. I want to keep Cirsova paying semi-pro rates, but I can’t currently justify those rates for reprint stories while paying the same as I would for exclusivity.

Still, I’ve had a lot of inquiries about reprints and have been brainstorming on the matter. I have a couple thoughts:

  • A reprinted story has less “value” to Cirsova than an exclusive story, so it would make sense to pay a lower rate.
  • A reprinted story would require a different agreement between Cirsova and the Authors of the story. (i.e., we would not be purchasing first rights, exclusivity, etc., just whatever necessary mechanical rights to include them in an anthology).
  • It would make the most sense for us to do separate issues/anthologies, keeping Cirsova Magazine a Semi-Pro market featuring original content while creating a new, offshoot title to showcase reprints, a sort of “best of indie” meets “in case you missed it”.

Given that we’re in the midst of an anti-gatekeeper movement, I find it ironic that I’m essentially in a position where I’m asking people “Is my gatekeeping enough of a selling point that I should consider this?”

At least from an author’s perspective, the answer may be yes – the belief that they can reach a wider readership with their work via Cirsova is a real thing (even if I can hardly believe it myself!), and bringing great stories to the masses is something I’m passionate about. And enough authors have approached me about reprints that I’ve begun to seriously consider.

I put our current regular readership at roughly 150. If we get 100 more yeses than nos, I’ll whip up a framework for a new Cirsova annual spin-off.

Note: This title would have no bearing on what would be acquired for Cirsova HF&SF; it would be a wholly new publication under the Cirsova “banner”. Think of it like a “Tops In Science Fiction” vs. Planet Stories proper, only we’d be reprinting other stories rather than those featured in Cirsova HF&SF.

A Very Short Review of Aye, Robot and The Yanthus Prime Job

The other night, I finished Robert Kroese’s new Rex Nihilo book, Aye, Robot.aye robot

While I enjoyed the first one, it did push me to the limits of my tolerance for spoof and parody in SFF – Starship Grifters got away with a lot I wouldn’t normally forgive because Kroese’s such a damn good and damn funny writer.

Starship Grifters’ sequel, Aye, Robot, was much more satire than parody. With the basic level Star Wars stuff out of the way from the first book, we’re left with a much more interesting and less predictable story. All of the top notch humor and brilliant writing from the first book was still there, but its move into unfamiliar territory with its narrative made Aye, Robot even more enjoyable.

Rex is still a Zapp Branniganesque scamp, but he has a few moments of real genius shine through; enough that one might question if some of his mannerisms aren’t just an elaborate act to throw people off. The secondary characters of Boggs and Donny were far less useless than the companions from the first book, so while entertaining in some of their antics, they helped keep Aye, Robot from being another “one sane man” (or one sane robot, in Sasha’s case) story. Even Vlaak managed to be a bit interesting as a character this time around (as opposed to merely a flamboyant cross between Darth Vader and Falco).

In short, while I liked Starship Grifters, Aye, Robot was a much better and much more enjoyable book, even if the humor was not quite as machine-gun-like as in the previous.

YanthusPrimeJobCover_medium-313x381I was also happy that Kroese included his Pepper Melange novella, The Yanthus Prime Job, as a bonus. I’d gotten an ebook of it, but honestly, I probably would’ve never gotten around to reading it had it not been in print. While still including some of Kroese’s brilliant humor, YPJ was a much more straight-forward sci-fi heist story, which I liked a lot. Pepper is a tough SF dame in the older mold – smart, clever, quick thinking on her feet, and creative in her approaches to problems, rather than a 5’2″ war machine in pleather. She was one of the better parts in Starship Grifters and took a lot of the burden off Sasha from being the one competent character, so it was fun to see her in her own story. FWIW, The Yanthus Prime Job is a lot closer to the sort of fiction that I, myself, am looking to buy for Cirsova than either Starship Grifters or Aye, Robot (even though they were both great). YPJ shows me that Kroese’s talents go way beyond clever wordplay interspersed with his nod-giving action SF; in a fairly silly setting, he’s able to tell a straight-forward but intense story that showcases his short fiction chops.

I’m already looking forward to the next installment in the Nihilo-verse, but I think I’ll be looking into more of Kroese’s fiction before then, when I get a chance.

Also, thanks for putting a ray gun in Rex’s hand on the cover. He looked kinda weird just standing there hands- on the last one.

starship grifters*: I backed the Kickstarter for a softcover of the first book. I think that Robert may have sent me a copy of Aye, Robot for having shilled for him (unpaid, of course) on Twitter. If that’s the case, thanks, Robert, I really appreciated it!

You Can’t Judge a Pulp by its Pitch

With our own open submission period fast approach, and in light of Corey McCleery’s post on the short story he’s writing for a Superversive anthology, I feel that I need to issue some clarifications on just what it is we’re looking for as a magazine that has had the attention of the Pulp Revolution.

First, I feel it’s important to point out that Cirsova was doing what Cirsova was doing prior to folks talking about a Pulp Revolution, and we intent do continue doing what we’ve been doing regardless of what directions either the folks involved in the Pulp Revolution movement do or what the Superversive movement does in response.

A lot of folks have said “I’ve got this great idea for X where Y happens in Z; there will be plenty of Q and T!” and I’ve absolutely encouraged people to write them.

But the thing is, a Pulp is much more than its pitch. A lot of pulp stories, when you try to distill their plots down to a sentence or two, come across as the wildest, most off-the-wall gonzo nonsense you can dream up. Except when you actually read the stories, they’re not only internally consistent, they often take themselves and the wild situations therein fairly seriously. While there might be some humor, the elements in the stories are usually not played for laughs. And I think that’s part of where we differ from some of the “Retro-Pulp”/”New Pulp” stuff, in that we’re not using the aesthetic for kitsch or playing it for laughs. It’s a very difficult concept to get across. It’s also why I think it’s worthwhile to show by example, which is why I strongly recommend folks read the pulps (particularly those that I’ve reviewed, because they are literally the context I’ve been using and measuring other stories against) and read previous issues of Cirsova to get an idea of just what I’m looking for.

Now, why did I bring up McCleery’s post?

Well, in addition to trying to define Superversive in his post, and trying to show that they are not mutually exclusive, he gives a pitch for his story that he is advertising as being a Superversive Pulp story:

It’s about a man, a man confronted with the injustices of a tyrannical usurper trying to slay the woman he loves, and to defend her, he becomes something greater than he is, using self-discipline and training to go from a plain warrior to someone of unmatched prowess. He’s morally straight and kind, but has courage in the face of incredible adversity, won’t shirk from trouble because it’s, well, trouble, and also refuses to do the wrong thing when that would make life easier, but compromise his conscience. Right there, that checks off two boxes listed above (Aspiring/Inspiring and Heroic).

He travels the world I have made, sees wonders, sees beauties unearthly. He goes into the most dangerous of places, and grows stronger for it.

He is guided by virtue, and eventually meets up with some other characters, many of whom are morally questionable. Through their interaction with him, these characters become more selfless, virtuous, and heroic themselves, and go from morally grey to heroes (there’s the Aspiring/Inspiring). In this world, there’s a clear line denoting what is good and bad, and that the evil usurper is bad, a cutthroat despot who isn’t scared to shed innocent blood (and she does this out of envy and desire for power, not because she was abused as a child or was a psychopath). Good is good, bad is bad, and while the hero isn’t %100 good, he aspires to be good (thus, the Virtuous box is checked).

And ultimately, the hero fights to restore the throne to the rightful ruler, and does so. He is not a pawn of chance, incapable of making his own decisions. He decides, and those choices have consequences. His actions have an effect, and he doesn’t react to the world, but proactively acts (thus fulfilling the Decisive category). And lastly, I’m not deconstructing ideals of heroism or other healthy cultural paradigms (thus fulfilling the Non-Subversive category).

So, I’m writing a Superversive story, one that will be published in a magazine.

Here’s the catch. It’s being published in Astounding Frontiers, Superversive SF’s pulp revival magazine. The description above is accurate, but focuses on the Superversive themes, not the pulp.

My story is about a soldier, charged with guarding the elegant and demure Space Princess, scion of a star (She kind of glows). He teams up with a stoic yet wise Void-wielding pseudo-Buddhist attack monk lizard alien man, a rough-and-tumble yet oddly maternal cyborg techno-necromancer (who’s art is drawn from Daoist philosophy), a giant crustaceanoid barbarian who’s bulletproof and very violent, and the crustaceanoid barbarian’s love, a sorceress insectoid-alien who is refined and demure (as refined and demure as an insectoid lady of high breeding level can be).

He flies in a ship that sails through the ether, and goes from a soldier to a sorcerer-knight who wields the ether and the Void, among other powers. He breaks into the vault of the imperial sorcerers to plunder its knowledge, and fights the horrendous beast that lurks in the heart of a sun. There’s travelling through the myriad avenues of death, Way Cool armor forged from the substanceless Void, action and heroism aplenty.

My story has battles on space ships, duels to the death, a classic romance, and a Space Princess, ethereal and beautiful. It has sorcery used alongside laser cannons and futuristic technology, where a battle can take place with scrambler beams or ether blades. Settings include the deadly library of sorcery, an ancient temple, and ruins of an M.C. Escher palace that is suspended in the heart of a hollow sun. It looks at genre distinctions and laughs in their face.

Now, a couple of things about this. This is a pitch. It gives you an idea of what the story will be about, but there’s no way to know whether this story is going to be any good or not. Also, that’s a LOT to try to cram into a short story*. Awhile back, I made a one sentence pitch for Schuyler Hernstrom’s The First American as an example of how it could be done (“Lizardmen stole a barb caveman’s dame, so he goes to a wizard who is an astronaut who gene-splices him and gives him a shotgun so he can rescue his dame from the lizardmen”), and that was a novella length work into which all of they X, Y, and Z were crammed. Another thing, I don’t know what deal McCleery has with the Superversives for their publication, so this is in regards to our publication, not theirs or anyone else’s, but as a general rule, unless you’ve finished writing your story, submitted it to me, and I’ve paid you for it, don’t say “here is the story I’m writing that will be published in Cirsova”, regardless of whether I’ve told you that your elevator pitch sounds awesome. That hasn’t happened yet, but it’s something I felt worth pointing out.

But back to pitches. What sounds great in a pitch needs to work out on the page. We’re not specifically looking for gonzo or how crazy and wild you can write a story. There may be a mistaken notion about the Pulp Revolution that to them Pulp is like some kind of Mountain Dew commercial, skiing down a mountain, chased by laser wolves, and screaming “PULP!” A lot of us make joke about that sort of thing, but that’s more about the bants than it is the serious business of writing and critiquing stoires. As for Cirsova, we are not the silly magazine that publishes silly and extreme stories for the sake of silliness and extremity. We’re looking for GOOD stories that are well written and have the potential to be entertaining to readers who enjoy action and romance. Ultimately, that is a far stronger consideration for whether we will acquire a story than whether it falls into a Superversive rubric or a Pulp rubric or a Pulp Revolution rubric, straw or otherwise.

*:Note – Corey’s pointed out that his pitch is for a serial; this is stuff that you CAN work into something longer, like a serial format. For our own submission purposes, since we only take serial works on special basis and by request only (please do not ask), we recommend only cramming in as much as you can reasonably work into 5000-7500 words without spreading your story too thin.

If You Have Questions, We Have Answers (Interview Roundup)

*Stickied Post

If you’ve just found out about Cirsova from our Hugo Nomination, hi! If you’d like to know more about us, who we are, and what we do, a great place to start would be these interviews we’ve done over the last few months.

Red Sun Magazine – Interview with Cirsova Magazine

Nya Reads -EDITOR INTERVIEW – ‘CIRSOVA HEROIC FANTASY & SCIENCE FICTION MAGAZINE’

Castalia House (Scott Cole) – A Conversation With P. Alexander: Cirsova Magazine

Chris Lansdown – Cirsova Magazine

Jon Del Arroz – Interview with Cirsova Magazine Editor P. Alexander

Nya Designs – EDITORS TALK DESIGN #1 – P. ALEXANDER, CIRSOVA MAGAZINE

Sexy Space Princesses and Super Starship Battles! (Geek Gab, Episode 66!) (Audio)

Or, you can always ask questions here! We’re always happy to field questions!

Issue 5 Going Out to Backers – Submissions Pre-Announcement

Issue 5 has been sent to all backers who’ve backed for physical copies (minus those still getting their surveys in).

Plan is still for the ebook version to go live on the 31st. If you missed the Kickstarter, you can still pre-order here:

If you want to get in on next year’s Cirsova, get writing and get editing. We WILL have a very brief open submissions period from June to July. Space will be very limited, so I recommend writing shorter pieces (5000-7500 words). I’ll post more specific guidelines closer to when we’re ready to open, but for now the following should suffice:

Do Send:

  • action driven stories
  • stuff with space ships
  • stuff with swords
  • stuff with rayguns
  • stuff with dashing heroes
  • stuff with daring dames

Don’t Send:

  • thinky stories where nothing happens
  • math problems or engineering troubleshooting disguised as fiction*
  • stuff with elves

We pay semi-pro rates of 1 cent per word with a bonus of an additional 1 cent per word on the first 2500 words. Payment is on acceptance for exclusive rights for one calendar year from the date of the publication.

*:we do accept “Hard” Science Fiction, just make sure that it’s something like Karl Gallagher’s Torchship or Paul Ernst’s Raid on the Termites (.