October 12, 2008
 
 
IN THIS ISSUE:

 

 

 

  • Writers and Illustrators of the Future Gold Award Winners
  • If Only I Had the Time by Kevin J. Anderson
  • The Annual Writers and Illustrators of the Future Winners
  • Winning Illustrator Makes Contest History
  • Private Aerospace Pioneer Addresses Award Attendees
  • Contest Deadlines
 

 

IMAGINING THE WORLDS OF TOMORROW:

Writers of the Future Grand Prize Gold Award Winners
Brittany J. Jackson of Detroit, Michigan (illustrator) and Ian McHugh (writer) of Hackett, Australia celebrate their Gold Awards with Contest judges Ron Lindahn and Tim Powers, NAACP California State Director Dr. Sandra Thomas and actress Elizabeth Moss.

Writers of the Future winners and judges

Illustrators of the Future winners and judges

If you haven't won yet, enter your story or illustration and you could be next years winner!


L. RON HUBBARD 2008 ACHIEVEMENT AWARDS CEREMONY
Watch the Video Highlights from the Awards Presentation

 

 

 

IF ONLY I HAD THE TIME
by Writers of the Future Contest judge and New York Times bestselling author, Kevin J. Anderson.

During the 2005 Winter Olympics, the world watched great athletes from all nations perform seemingly impossible feats with breathtaking skill. When those well-toned men and women received their medals, we admired them for their almost superhuman abilities. Most of us didn’t kid ourselves (as we were sitting on the couch munching potato chips) that we could be just as talented, just as fast, just as strong . . . if only we had the time.

For some reason, though, a lot of people seem to believe such an absurd thing about writing books. I’ve had many people tell me that writing is easy, that they
themselves could do it, if they merely sat down and put their minds to it. Here’s how the conversation often goes:

A person at one of my book signings or appearances: “I’ve always wanted to be a writer. I could write a novel.”

Me: “Oh? Why haven’t you?”

Person: “I just don’t have the time.”

Me: “Hmm. You know, nobody gives me the time, either. I have to make the time, set priorities, discipline myself to get my writing done each day, no matter how tired I am. I worked a full-time regular job while I wrote my first novels, scraping out an hour here or there in evenings and weekends. That’s how I’ve become a
successful author.”

Person: “Yeah, right. I think you’re just lucky.”

Olympic athletes usually start their training as kids, practicing, competing, clawing their way up year after year. Some of them get up before dawn just to grab enough hours of training during the day. They strive to improve their performance, stretch their abilities, beat their personal bests and then beat them again. They practice until they’re ready to drop, and then they keep at it. Many are injured along the way. The vast majority of those who try out don’t make the Olympic team. They may win semifinals and regional competitions, but only the best of the best become part of the team—and only the very best of those will win a medal.

I’ve received dozens of letters posing the same question: “I want to write a bestselling novel. But it seems to take so long, and it’s an awful lot of work.
Can you tell me what the shortcut is?”

Without doing a full count and comparison, I wouldn’t be surprised if there are about as many New York Times bestselling authors as there are members of the various US Olympic teams. The competition among bestsellers is just as tough, and your chances of success are just as slim.

But does anyone really say, “I want to win a gold medal in figure skating, but I don’t have the time for all that practice and training. In fact, I don’t even own ice skates. Can you tell me the shortcut to winning a medal?”

To make a short answer long, I’ve wanted to be a writer since I was five years old. I sat in my dad’s study and plunked out my first “novel” on a manual typewriter when I was eight. By the age of ten, I had saved up enough money to buy either a bicycle (like a normal kid), or my own typewriter. I chose the typewriter. I got my first rejection slip by the time I was thirteen, had my first story published when I was sixteen (after I had gathered eighty rejection slips), and sold my first novel by the time I was twenty-five.

I have a trophy in my office proclaiming me to be “The Writer with No Future” because I could produce more rejection slips by weight than any other writer
at an entire conference. My files now bulge with more than eight hundred rejections. On the other hand, I also have ninety-four books published, forty-one of
which have been national or international bestsellers, and my work has been translated into thirty languages. I’ve written almost ten million words, so far.

No, I don’t know any shortcuts. Sorry.

Where does this notion come from that just anybody can write a novel, if they could only get around to it? I never hear the claim that just anybody can be an Olympic athlete, or a brain surgeon, or a space shuttle commander. Even if we did “have the time” to raise capital and invest wisely, few people could manage to be as rich as Donald Trump.

But somehow, publishing a novel apparently involves nothing more than unskilled labor, stringing a lot of sentences together until you fill enough pages with
words.

Every author has heard this one from a friend or a fan: “I’ve got a great idea for a novel. I’ll tell you the idea, you write the book and then we can split the money.” (As if the idea is the hard part!) In all honesty, I’m not short on ideas. In fact, I’ll never have time to flesh out all the novel possibilities that occur to me on a regular basis, so this proposition never ceases to amaze me.

I’ve often wished I had the nerve to reply: “I’m pretty busy right now, but why don’t we try it the other way around first? I’ll tell you an idea off the top of my head, then you can do all the research, the plotting and character development. You can write a hundred thousand words or so, then edit the manuscript (I usually do at least five to ten drafts), sell it to the publisher, work with the editor for any revisions, deal with the copy editor, proofread the galleys, then do book signings and promotion after it’s published. After all that, we’ll split the money. Sound fair?”

Now, I’m not comparing myself to an Olympic gold medalist. I can’t even stay up on ice skates. I don’t change the oil in my car (though I could probably figure it out, “if only I had the time”) or balance the monthly checkbook. But I do have a pretty good idea how to write a novel. I’ve been practicing and training for most of my life.

Maybe as a public service I’ll write a self-help book of shortcuts for these would-be authors who live all around us. I could call it, How to Become a Bestselling Author in Twenty Years or Less. Now, if only I could find the time to write it. . . .

 

 

THE 2007 L. RON HUBBARD ACHIEVEMENT AWARDS WINNERS

The quarterly winners who attended the L. Ron Hubbard Achievement Awards for the Writers and Illustrators of the Future for 2007 are shown here. (Congratulations are also extended to quarterly writer winner Paula R. Stiles, who was not able to attend.)

Quarterly Writer Winners Quarterly Illustrator Winners
   
Al Bogdan    Gustavo Bollinger       
Erin Cashier Robert Castillo
J. Kathleen Cheney James Galindo
Sarah L. Edwards Robert J. Hall Jr.
J.D. EveryHope Sean Kibbe
Kim A. Gillett Stephen Knox
Sonia Helbig Kyle Phillips
Patrick Lundrigan William Ruhlig
David Parish-Whittaker Ilya Shkipin
Laura Bradley Rede Stephen R. Stanley
 
  Alexandra D. Szweryn

WINNING ILLUSTRATOR MAKES CONTEST HISTORY

Stephen R. Stanley, an Illustrator of the Future winner this year, is our first entrant to win in both the Writers of the Future AND the Illustrators of the Future contest categories.

You will find Stephen's earlier winning short story, “Hell Hath No Fury Like a Pixel Double-Crossed,” in Writers of the Future Volume 21.


PRIVATE AEROSPACE PIONEER ADDRESSES L. RON HUBBARD WRITERS AND ILLUSTRATOR AWARDS ATTENDEES

Aleta Jackson, co-founder of XCOR Aerospace, spoke at the 2008 L. Ron Hubbard Achievement Awards and had the following to say to the guests as well as the winners being honored that night:

"Hello, writers and illustrators of the future! It is good to be here with so many friends. I have to confess that the reason I'm here is mostly your fault. So many stories were written about Spaceport Mojave that it became real. And my company is what happens when its founders read—and believe—good science fiction.

"Officially XCOR is in the business of building reliable, reusable, affordable launch vehicles. But we REALLY started the company because we just want to GO, and we got tired of waiting. We figured that if we wanted a ride, we had to build it ourselves. And we had to make it cheap enough so you could come too.

"But when we told potential investors why we started the company, they laughed. It's called the ‘giggle factor.’ Many of you have run into the ‘giggle factor.’ You tell people you're a writer or illustrator, and the response is ‘But what's your real job?’ Then you have the utter ego to believe that people will pay you money for your work. AND you write science fiction, which has the most demanding, knowledgeable and opinionated audience on the planet.

"That you have done it and done it well deserves a salute. Congratulations!
 
"At first glance, what we do at XCOR seems a far cry from what you writers and illustrators do. You write, or illustrate. We build. But our efforts have a lot in common. Science fiction writers work hard to construct a credible universe where a reader can willingly suspend his disbelief. Your stories require a good foundation and have to withstand scrutiny. We do the same at XCOR.
 
"We build robust equipment and demonstrate its reliability so that people will suspend THEIR disbelief about us. Most people still believe that going into space is too dangerous, too complicated and too outrageously expensive for anyone to attempt—except a government. I think the idea that space is only for governments and an elite corps of astronauts is as credible as the Department of Transportation producing a Hollywood blockbuster. It isn't easy to replace old notions. Affordable space access takes two things: money and technology. The technology is fairly straightforward. The hard part has been educating investors to suspend their disbelief and commit the necessary capital.

"Until now, rockets were (mostly) thrown away during every flight. Imagine how expensive it would be to throw away your car every time you used it.

"Just as writers have to start with an idea and then an outline and then work the story chapter by chapter, we approach space travel step by step. First we build an igniter, because reliable engines have to stop and start reliably. We then build a small rocket engine, with only 15 pounds per foot of thrust that could be carried in a briefcase.

"We first built EZ-Rocket. It flew at Oshkosh and elsewhere and set world records. Recently we have put our second generation rocket-powered aircraft, based on a Velocity airframe, into the air. The Rocket Racing League—more science fiction becoming real—paid us to design and fabricate the Rocket Racer. The fuel is pumped so it can fly longer than the EZ-Rocket did.

"I have flown in this and let me tell you—YOU GOTTA DO THIS! I am so anxious to get our next vehicle, the Lynx I, into the air so you can have this much fun too. The Lynx is our own design. The Lynx Mark II, building on what we learned on the Mark I, will get to over Mach 3 and reach over 300,000 feet altitude. That's over 50 miles. Hello astronaut wings. After Lynx, we'll go on into orbit.

"And just to show that we're serious, everybody at XCOR, from the guy who turns a wrench to our CEO, will ride on our vehicles.
 
"And that's our ride into space. As L. Ron Hubbard stated in his introduction to Battlefield Earth: ‘Science fiction does not come after the fact of a scientific discovery or development. It is the herald of possibility. It is the plea that someone should work on the future.’

"You write about the future. I build it. Keep up the good work!”


 

WRITERS OF THE FUTURE VOL. XXIV

 
 

CONTEST DEADLINES

The Contest has four quarters, beginning on October 1, January 1, April 1 and July 1. The year will end on September 30. To be eligible for judging in its quarter, an entry must be postmarked no later than midnight on the last day of the quarter. Late entries will be included in the following quarter and the Contest Administration will so notify the entrant.

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