The Further adventures of Lt. Ellen Ripley?

[Alien5]

I have just written my first novel and I am currently in the process of trying to get it published. I would eventually like to write an Alien novel which would involve Ripley again. Out of curiosity, what are some things people want to see in a new Alien novel? Any answers to questions from the films, aside from the Space Jockey? Feel free to say what you think the character should or should not do! I know that's impossible to please everyone, but it doesn't hurt to ask!

[SM]

Ripley 8 is in the novel Original Sin, with Call , Johner and Vriess as well as other Betty crew replacements.

But then, they don't seemed terribly concerned with continuity these days, so it wouldn't matter if you didn't factor it in to your story.

[Corporal Hicks]

http://images.darkhorse.com/dhpressbooks/downloads/dhpress_submission.pdf

AvPGalaxy - I notice Dark Horse Books' prose line has an open submission policy. Does that mean that if a fan made a good enough pitch, you'd be willing to let him write a novel, even if his only experience was fanfiction?

Rob Simpson - I'm glad you asked about that, because I love working with new writers and have a great affection for fanfic. I know a great many authors and professional editors who started out doing fanfic. That said, I need to clarify something: while we do indeed have an open submission policy for the prose divisions of Dark Horse, both at Dark Horse Books and our sister imprint M Press, that doesn't extend to ideas derived from licensed properties, creator owned properties, or characters owned by Dark Horse. So, we currently can't accept any proposals based on Aliens, Predator, Sin City, Hellboy, Usagi Yojimbo, Barb Wire, and similar characters. If we open an envelope and see that the submission even pertains to such a concept, we have to destroy it right away.

I know that sounds harsh, and like we're closing the door on new writers, but it's necessary to keep us from exposing ourselves and the companies and individuals that own these characters to possible prosecution. We're actively involved at all times in creating Aliens stories—if someone comes up with an idea they feel mirrors what we've been working on, it could become a highly volatile situation very fast. So, for the safety of all concerned, we simply can't look at them.

So, how does a new writer get into the field? It's a question that comes up in every area of commercial writing, from TV to movies to comics to novels. More often than not, the answer is, Write something else. If you want to write for Gray's Anatomy, write a spec script for The Closer. If you want to write an issue of Batman, write a spec script for Spider-Man. Why? That will show an editor or show runner that you (1) know how to write in the format we need, (2) that you can write convincing characters, (3) that you can limit yourself to the physical requirements of the project, be it a 75,000 word novel, an hour-long drama, or a 22-page comic, and (4) that you understand that if you send me an Aliens novel that I won't be able to read it, and that you've passed beyond being a pure fanfiction writer and are on the road to becoming a professional. I could keep ticking off numbered responses, but you get the point. Outside of being a known author whose work we've read, that's the best way to do it.

Oh, and I should stress—send outlines! Sending us a 150,000 word Alias fanfic is the surest way to make sure we don't read it. The sheer weight of submissions prevents us from reading the entirety of such manuscripts. So think incremental steps. Send a one-page query letter, explaining you'd like to write a novel, list your credentials (and "I love Aliens" is a totally valid credential if you're just starting out—everyone is starting out at some point), and enclose with it a VERY short synopsis of a different kind of story. One, two pages tops. Don't send a plot outline for creatures that gestate from square blocks instead of eggs—that's still "aliens" and we'll still have to dispose of it the second we see you're trying to sneak through an Aliens pitch. That's why I was saying to write a medical drama send me a cop story, or to write a comedic comic about married couples send me a pitch for a comedy about dogs.

Both are either dramatic or comedic, but don't infringe anyone's copyright and hence won't require me to dispose of it unread. If we like the pitch, we'll ask for the first three chapters. If we like those, we'll either ask for the whole story (to show you can carry through the execution of the beginning-middle-end of a story in its full form from an outline), or we'll let you know that we'd like to work with you, and keep you in mind for when an assignment opens up. We're not trying to drag out the process, but it's the only way we can tell if you understand the requirements of writing this kind of fiction. Now, if you just wanted to submit a science fiction novel, you would only have to send a query, the outline, and the first three chapters. The guidelines are on our website, though they'll be migrating to the Dark Horse Books website as we fold the DH Press titles over into the Dark Horse Books imprint. But, in all cases, for licensed characters we have to do the assigning. Those rules apply to experienced writers as well as new ones. Long answer, but I hope it addresses some of what you're asking.

Victoria Blake – Just to add on Rob said... The question gets to the heart of what a book is, and why we value books as more than simple entertainment. Or, rather, I should say "I." It gets to the heart of why I love books as much as I do, and why I respect writers as much as I respect them.

I think of writing like any other skilled craft—carpentry, law, engineering of any sort. Mastery in each of those fields requires a natural talent, or aptitude, and a period of study and practice. Similarly, writing a good book requires some serious time spent studying and practicing. I don't think that anybody can write a good book, but I do think that many people can. I think the number of people who actually do write good books is fewer than the number who could. And I think that this is because writing a good book is hard, hard work. It requires a set of skills that are developed over time.

So, yes, we'd look at a pitch for an author's totally original concept—as Rob said, there are legal reasons we can't look at an unsolicited Aliens pitch—but I don't think that we'd accept a novel from an unproven writer without seeing the novel first. It would have to be written, otherwise it would be a blind bet. And then there are a bunch of other things to consider, like, for instance, could a new writer deliver a workable manuscript in six to 10 months? Would the writer be easy to work with? Would the writer respect the rules of the licensed universe? Which, again, goes to what Rob said...sometimes you have to go around the side door in order to be able to later approach from the front.

All this is not to say that I don't like fanfiction, and that I don't respect the writers of fanfiction. I do. I think that at a basic level a bunch of people hashing out a single idea is super, super cool... Fanfiction can be a little more free than fiction written under contract. The ideas are different, the execution can be different, the directions can be different. More is better. The more people having fun with an idea, the better.

[SM]

More often than not, the answer is, Write something else.

Which he's done.

If you want to write for Gray's Anatomy, write a spec script for The Closer. If you want to write an issue of Batman, write a spec script for Spider-Man.

In spite of his explanation, I never understood this.  He just gets through telling us to NOT write for licensed properties - then says go write spec scripts for licensed properties - just not the ones you want to write for.  What? 

[Uncanny Antman]

In spite of his explanation, I never understood this.  He just gets through telling us to NOT write for licensed properties - then says go write spec scripts for licensed properties - just not the ones you want to write for.  What? 

The reason for that is, they legally can't read your script for a property that they own, so if you write a spec-script for something in a similar vein (but for a property they don't own) they can read it and judge your work.  It gives them a pretty good idea as to what they'd be getting from you were you to work for them.

[SM]

(but for a property they don't own)

Ooooh!

*slaps self in head*