Archive for Orbit UK

Small Favour

We’re very excited to be releasing our first Jim Butcher title in UK hardback. Small Favour is the excellent tenth book in the Dresden Files series. It sees Harry trying to pay off one of the favours he owes to the Winter Queen of Faerie, but things, of course, were never going to be that easy. We can’t help but love this smokin’ cover with a beat-up leather look that almost looks strokeable …

Small Favour by Jim Butcher

Small Favour is released on the 3rd April. For those of you who just can’t wait the eight long days till then, it’s also available for pre-order.

New Orbiteer

We’re delighted to announce a new addition to the Orbit team in the UK. Darren Turpin joins us on 7 April, in the role of Marketing Executive. Also known to some in genre circles as Ariel, Darren has been involved with science fiction and fantasy for many years. During his time as a bookseller, he was co-editor of The Waterstone’s Guide to Science Fiction, Fantasy and Horror, and he created the very-near-legendary genre website The Alien Online. Most recently, he has worked as a freelance web developer, and built websites for many of our authors, including Philip Palmer and Brian Ruckley. We’re enormously excited that he’ll be working on websites and online campaigns for our authors.

Darren, welcome!

Standing out or fitting in?

Ron Hogan at Galleycat and a poster at Metafilter have recently drawn attention to the covers of of three Orbit authors, Charles Stross and Ken MacLeod (Orbit in the UK only), and Iain M. Banks (Orbit in the UK and US).

For the most part, when we publish an author in the US and the UK, we publish with the same cover — and some of those covers are developed in the US and some in the UK. The cover for Iain M. Banks’ MATTER, for example, was developed in the US, whereas CONSIDER PHLEBAS and PLAYER OF GAMES were developed in the UK.

Banks Cover Comparison

If we felt that a book would appeal to a wider readership if it had a different cover in the US or UK, we’d give it a different cover. But usually we don’t. Not everyone will agree with that — but that’s fine.

Going back to the Galleycat comments, we don’t really have any rules when it comes to covers, but there’s one thing we always do first when we’re discussing them: we decide what it is that excites us about a particular book/series/author. What makes it stand out? What makes it different to everything else out there? And then we ask ourselves: how do we reflect that in the cover approach? What kind of look would be the perfect way to reflect what we think makes this particular book/series/author special?

What we don’t do is think: this book is epic fantasy therefore it has to have one of these covers; this book is military SF therefore it has to have one of these covers. And so on.

And it’s not just the cover illustration/design that this relates to — it’s the format, the production values, the entire package for a book.

This is the issue, I think, at the heart of the Great SFF Cover Debate/War. It’s nothing to do with where the book is being published in the world; it’s to do with the question that every genre publisher has to ask themselves: do we want our books to stand out or do we want them to fit in? Most genre publishers would say both: they want their books to stand out by looking exceptional, but they also want them to fit in by being immediately recognizable to readers of similar books within the genre. Depending on where you put the emphasis, though, the cover for a particular book can go in some very different directions.

Orbit is a publisher of genre fiction, and we’re proud to be a publisher of genre fiction, but at the moment we definitely seem to be putting more emphasis on trying to make our books stand out. Why? Check out the SFF section in your local book store. How quickly can you find a book from a writer you don’t know that excites you because of the way it looks? Hopefully, you’ll find something quickly and the book itself will turn out to be just as exciting as it looks. That’s why we like our covers to stand out.

Banks and MacLeod

Here’s video, along with the complete audio podcast, of Iain M. Banks and Ken MacLeod’s readings and conversation at last weekend’s Aye Write! festival in Glasgow.

Aye Write!

Hugo Stross!

Halting StateThe shortlist for the 2008 Hugo Awards has just been released, and we are delighted to see that Charles Stross‘s cutting-edge near future heist thriller, Halting State, has made the ballot. This is the fifth consecutive year that a Charles Stross novel has been shortlisted for the Hugo, passing the great Robert Silverberg‘s previous record, which is an amazing achievement. Many congratulations to Charlie on his most recent shortlisting – we’ve all got our fingers crossed that he walks away with the rocket ship, this year!

Oh, and I’ve read his forthcoming space opera, Saturn’s Children – don’t bet against it being six-in-a-row, this time next year . . .

Sir Arthur C. Clarke (1917 – 2008)

The News At 10:00 last night carried the sad story that Sir Arthur C. Clarke had passed away, some three months after his 90th birthday.

A Space OdysseyAlthough best known for 2001: A Space Odyssey, Clarke’s work encompassed so much more than just an iconic date.  The Fountains of Paradise won both the Hugo and the Nebula Awards and his brilliant Rendezvous with Rama went one better by adding the John W. Campbell Memorial Award. The scenes at the opening of Independence Day, of giant spaceships appearing over the Earth’s major cities, is straight out of the majestic Childhood’s End, written over forty years earlier.  

His incredible body of work is reason enough to consider ‘greatness’ an entirely appropriate adjective, but Clarke was so much more than simply a science fiction writer.  He gave us Clarke’s Three Laws; he served in the RAF during the Second World War, where he was involved in the development of the early warning radar defence system; and in a paper published in Wireless World in October, 1945, he practically invented the telecommunications satellite.

When I heard the news last night, I went upstairs and took my copy of The Collected Short Stories off the bookshelf.  I’ve read pretty much everything Clarke’s written over the years – certainly all the solo works – but it has probably been over twenty years since I’ve read any of his short stories.  As I looked down the contents page trying to decide where to start, it was like reading a Shakespeare play and seeing all the quotes leap out. An unremitting catalogue of brilliance stared out at me: here was Loophole, there was Rescue Party; The Wall of Darkness, Nemesis, Second Dawn, All the Time in the World, The Lion of Comarre, No Morning After, A Meeting with Medusa, “If I Forget Thee, Oh Earth. . . “, Encounter at Dawn, Expedition to Earth, The Other Side of the Sky, Transit of Earth, The Wind From the Sun, Against the Fall of Night

Those who know anything about Arthur C. Clarke will have spotted three glaring omissions in the above, and of course, that’s where I started. I re-read The Nine Billion Names of God, then I re-read The Star, and then I re-read The Sentinel. In some cases, the prose style may have dated a little, but the concepts and the execution are as powerful as ever. If you’d asked me as a teenager what reading Arthur C. Clarke felt like, I’d have said ‘having my brain pried open and the universe poured in’.  After reading those stories again last night, I’d say my teenage self had it spot on.

We lost one of our Greats yesterday. Farewell, Sir Arthur C. Clarke, the world is poorer for your passing.

Black Ships and Archetypes

Black ShipsOver at her livejournal Jo Graham discusses the “Warrior Princess” archetype in fantasy, and explains how she aimed to make Gull – the priestess in Black Ships – distinct from it.

“I think it’s important that our stories talk about the full range of human experience. Throughout human history important and interesting things have been done by people of both genders, playing a variety of gender roles. Our popular fiction chooses to focus on a few. Why not talk about Ruling Queens? About Sacred Whores, as Jacqueline Carey does in Kushiel’s Dart? About the neglected male archetypes of The Priest and The Psychopomp?”


You can read the whole post here.


Black Ships
is out now in the US, and is forthcoming in the UK. Click here to read an excerpt.