Roger Elwood

Roger Elwood (January 13, 1943 – February 2, 2007) was an American science fiction author and editor, who edited a large number of anthologies and collections for a variety of publishers during the early to mid-1970s.

Born and raised in southern New Jersey, Roger Elwood started his professional writing career soon after graduating from high school.

Given that Earl and Otto Binder ceased to co-author stories in 1955, and that Earl died in 1965 and Otto in 1974, it seems unlikely any of these stories was a commissioned work.

Nielsen Hayden reports that, prior to Elwood's involvement with the market, anthologies and collections were very popular with readers, and were considered by the publishing industry to be "a surer bet than novels".

She accuses Elwood of "singlehandedly breaking the story collection/anthology market".

By "wreck[ing] the readers' faith in collections" she says, Elwood "squandered industry credibility accumulated over decades by better anthologists".

Anthologies and story collections, she suggests, became "a hard sell".

The idea that Elwood's effect has been a long-term one, as Nielsen Hayden maintains, is difficult to maintain considering the continuing high numbers of anthologies published annually.

Publishing houses which published Roger Elwood's anthologies:

Elwood's Fantastic Fiction biography claims that he has sold "a thousand articles and a few short stories" to publications including Ladies Home Companion, Mike Shayne's Mystery Magazine, Edgar Wallace Mystery Magazine, Photoplay, Grit and Weekly Reader.

Frontiers:

Continuum:

Each Continuum volume contained eight short stories: seven comprising four-episode series by the authors Poul Anderson, Philip José Farmer, Anne McCaffrey, Chad Oliver, Edgar Pangborn, Thomas N. Scortia, and Gene Wolfe.

(The stories by Pangborn are based in the world of his novel Davy, but at different times within that world's fictional history.) The eighth story in each volume is part of a rotating author series started by Dean R. Koontz.

Angelwalk:

Bartlett Brothers:

Oss Chronicles:

He then effectively quit ordinary science fiction/fantasy during the late 1970s, becoming a prolific writer of Christian-based novels during the 1990s, with more than thirty novels published during that decade.

Elwood's biography on the Fantastic Fiction website omits mention of his work concerning ordinary science fiction/fantasy and identifies him as a Writer-in-Residence (or occasionally a "professor of literature") at a Bible college in the mid-western USA.

The biography also claims that "12 of his novels have won Excellence in Media awards for best book of the year", although the Silver Angels award website includes only a general "Print" category, and does not list Elwood's name.

Elwood's work as a genre anthology editor during the mid 1970s is not without its detractors, whose criticisms range from professional to ad hominem; James Nicoll has noted that Elwood's "capacity to produce anthologies at high speed was not, alas, matched with an ability to produce interesting anthologies", as well as the possibility that "readers, having read a few unremarkable Elwood anthologies, were reluctant to buy more".

SF hardcovers were relatively uncommon during the 1970s and the stories were supposedly original commissions, so Nielsen Hayden believes it is reasonable to assume that this was a well-funded project.

Normally the entire advance for an anthology is paid to the anthologist, who then purchases story rights out of his or her own pocket, retaining any unspent advance money.

Given the availability of experienced short fiction writers at the time, Elwood's choice of inexperienced authors aroused suspicions.

The Lerner SF Library also contains two stories by Earl and Otto Binder, and a third story by Otto alone.

Elwood edited two magazines about wrestling, The Big Book of Wrestling and Official Wrestling Guide, on a contract basis during 1971–72 for Jalart House, an Arizona publisher, and regularly photographed matches (photographs were more important than text for wrestling magazines).

He became a regular with locker room access at some shows on the East Coast, which might seem to contradict rumours that he had become disillusioned with wrestling when it came to his attention that some professional wrestling matches were fixed.

This period produced some fictional confessional stories (e.g. "I Killed a Man in the Ring") that Elwood claimed were based on "a blending of interviews".

He left the job abruptly between late 1972 and early 1973, telling writers the wrestling magazines were too much work for too little compensation.

Elwood was published by four different publishers during his first six years as an SF anthologist.

During the next few years he would contract with more than a dozen other publishers to produce many dozens of individual books and two anthology series, the four-book Continuum and two-book Frontiers.

The Encyclopedia of Science Fiction observes that "At one time it was estimated that Roger Elwood alone constituted about one quarter of the total market for SF short stories."

About the time the SF anthology market was decreasing, Elwood began working for Laser Books, an ultimately unsuccessful attempt by romance publishing giant Harlequin Books to systematize and regularize SF into a uniform series of novels by diverse authors.

Elwood's eight-volume young adult hardcover Lerner SF Library (1974), with three or four stories per volume, includes stories from three authors whose only recorded sale, according to the Internet Speculative Fiction Database, was to that book; two more authors who only ever sold stories to Roger Elwood; and one whose only first sale was to Roger Elwood, but who had the story republished elsewhere.

A review of Elwood's 1976 anthology Six Science Fiction Plays in the Star Trek fan magazine Enterprise Incidents remarked that except for the inclusion of the original teleplay of the episode "The City on the Edge of Forever" by Harlan Ellison, the book was "another excursion into mediocrity by Roger Elwood."

Amongst other criticisms, which she suggests "are more conjectural, but not easily dismissed", Nielsen Hayden nominates "the quality of the books themselves".

She describes Elwood's theme anthologies as "carelessly edited" and "low-grade", although she allows that "some of Elwood's collections were quite decent," and that "all of them featured some good writers and good stories."

The following are examples of peer recognition accorded to some of the stories printed in Elwood's anthologies (source: the Internet Speculative Fiction Database):

Elwood is reported to have underpaid authors.

Additionally, Teresa Nielsen Hayden discusses speculation about the financial details of some of Elwood's projects "that by all indications should have had generous budgets" but were "peculiarly long on authors who had slight or nonexistent publishing credentials outside of Roger Elwood projects."