Several weeks ago, when I was at the Gulf Coast Fan Fest, one of the other authors at the Bard’s Tower booth learned that his debut novel [Empire of Silence, Christopher Ruocchio] had been shortlisted for the best debut fantasy novel of the year by Booknest Fantasy Awards.
Now, I’ve been a published F&SF author for 45 years, and I’d never heard of the Booknest awards. As a matter of fact, in recent years, there have been a number of awards I’d never heard of until I saw a news story or online mention of the award. And I began to wonder if I had just gotten out of touch. So I did a little research.
When I was first published, the only F&SF awards I ever heard about were the Hugo Awards, and that wasn’t surprising, because my research showed that in 1973, the only awards were the Hugos, the World Fantasy Awards, and the Nebulas. The Hugos were the oldest and were first presented in 1953 at the eleventh World Science Fiction Convention at Philadelphia, and the awards are determined by the votes of the members of the World Science Fiction Convention. The first World Fantasy awards were presented at the first World Fantasy Convention in 1975, and are determined by a jury of five professional writers or editors. The Nebula awards are determined by the votes of the members of the Science Fiction Writers of America [SFWA], and were awarded for the first time in 1966, a year after SFWA was founded.
After that, more awards were created, slowly at first, and then, in the last twenty years, scores of them have sprung up, so that there are now more than a hundred different regional, national, and international F&SF awards. There now seem to be awards for every sub-genre of science fiction and fantasy, and each one endeavors to be unique in some fashion.
Now, I know many of these awards came about because various groups felt that the F&SF literature that represented them, either ethnically, geographically, or by genre or subgenre, was not being recognized. Early on, David Hartwell and others essentially created the World Fantasy Convention and awards because he felt that fantasy was largely ignored by the Hugos. Likewise, it appears that SFWA created the Nebulas to reflect a more professional outlook, rather than the “popularity” basis of the Hugos, since all SFWA members are published authors. Initially, those three categories of awards seemed largely sufficient… until the 1980s, when the proliferation began, a process that appears to have continued to increase ever since.
Is this proliferation of awards really recognizing the unrecognized, or could it be an outgrowth of the idea that every child involved in a competitive sports activity should have a trophy, and now that those children are grown, those who are writers should each have an award?
Some have contended that winning an award results in more publicity and more sales for the authors, but the studies that have been done, at least according to Tom Doherty, indicate that the only award that seems to have an effect on sales is the Hugo. In all fairness, those studies don’t include the DragonCon awards, which are only two years old, and are presented at a convention that draws 80,000, about eight times the size of the World Science Fiction Convention, which is the largest of the “conventional” F&SF conventions.
More to the point, however, for all the concern about various aspects of F&SF being ignored and/or marginalized… does every aspect of the field really need its own trophies?
And how much do all these awards enhance the field?