“It has been my lifelong dream to be in that magazine.”
When a writer who grew up reading a leading speculative fiction publication said this, my heart went out to them. I understood why they felt torn over whether to sign the contract they received from its new publishers. I was sent much the same contract earlier this year. We are not the only ones.
In February, it was announced that Dell Magazines/Penny Press had sold four magazines, Analog Science Fiction & Fact, Asimov’s Science Fiction Magazine, Alfred Hitchcock’s Mystery Magazine, and Ellery Queen Mystery Magazine to Must Read Media. Separately, MRM acquired the Magazine of Fantasy and Science Fiction. The longest running of these is Analog, which produced its first issue in 1930 under the name Astounding Stories of Super-Science. F&SF has been around since 1949 and Asimov’s since 1977. That’s over two centuries for these three combined!
Not surprisingly, casual readers, long-time subscribers, and speculative fiction writers have been curious, if not downright apprehensive, as to what changes may be in the offing. Most of us well know that making a living in publishing is a gamble even in the best of times. Notwithstanding how much we enjoy fiction that centers on what the future might have in store for humanity, writers can be every bit as resistant to the prospect of imminent change as other people. Is it any wonder? After all, we are trained to hone in on making situations worse for beloved characters. Our vivid imaginations can magnify our fears for institutions we regard highly, such as the publications we read, and those we write for, and especially those we aspire to appear in someday.
As a columnist for Analog Magazine, I wondered how the magazine’s sale would impact my regular book review column, “The Reference Library.” Over the years, Analog has also published a bunch of my short fiction, guest editorials, and a science article. Naturally, I knew that MRM would expect me to sign a new contract for “The Reference Library.” I did not expect their contract to be identical to the former publisher’s contract. When it arrived, however, I was surprised to see that despite paying me the same dollar amount, I would no longer retain certain rights, such as for film productions or merchandise based on my work. In our field, it is not typical for short fiction or nonfiction contracts to include language granting these rights to the publisher. Instead of immediately signing, I asked several questions.
Around the same time, the Science Fiction and Fantasy Writers Association put out a series of press releases presenting their concerns. The first one warned, “contract clauses regarding performance or merchandising rights should not be included in agreements with the [] magazines. If these clauses do appear, authors should negotiate to have them stricken or removed entirely from the agreement, as they are considered either an editorial error or a holdover from an outdated contract.”* Nor were these the only provisions raising eyebrows. About three months later, SFWA issued a follow-up press release highlighting the moral rights clauses in MRM’s contracts, as well as what happens if a publisher fails to produce a work, what royalties are received by the author, and what remedies the author enjoys in the event of a breach of contract.**
Do these details strike you as obscure or arcane? Be assured, they are not. Rather, they serve to provide writers with fair compensation for licensing their work. Every author needs to figure out for themselves what provisions they can live with in a contract, regardless of the publisher, and what they cannot. Sidenote: Writers who are represented by literary agents for their novels may want to consult their agents if their short fiction is set in the same universe or includes the same characters as their current novels or the ones they intend to write.
As for my book review contract, I crossed out several provisions that concerned me, signed the remaining contract, and sent it back. I decided not to insist on keeping the merchandising rights when it came to my book review columns. However, it would be important to me to hang on to these rights for the characters populating my fictional worlds, or else to receive additional compensation for them.
Since the sale of these magazines, I’ve been in contact with several writers regarding their experiences. Not surprisingly, they are a mixed bunch. For example:
- I am astonished that some established writers signed new contracts with MRM without even reading them. This strikes me as too trusting, irrespective of the publisher. I fear some of these authors may not understand which provisions are commonplace and which ones are likely not in their best interests.
- I am gratified that other writers, including some newer authors and those further along in their careers, have had the tenacity to negotiate better terms for their work.
- I am saddened, but not surprised, whenever an author publicly announces that they will stop sending their stories to the magazines MRM purchased. Readers will miss them, although some will follow their favorite authors to different magazines.
- I am concerned that readers of these five magazines will miss out on some fine fiction written by up-and-coming writers who decide not to submit to these stalwarts of our field.
- I have great hope that these venerable periodicals will thrive. I would dearly love to celebrate Analog’s 100th anniversary!
In closing, let me note that writers began as readers. It’s natural for us to relish the prospect of entertaining people. As we do so, we must not lose sight of the fact that publishing is a business. I sympathize with those who detest delving into contracts and juggling finances. Nevertheless, there is a real risk of making poor business decisions that are regrettable in hindsight. As much as we may respect and trust our current editors and publishers, we would be foolish to presume the present arrangements are immutable. To be sure, no contract can inoculate authors against poor business acumen, let alone nefarious motives. However, writers and readers are better off when decent contracts protect the authors and their work.
** https://www.sfwa.org/2025/07/23/press-release-july-23-2025/
ROSEMARY CLAIRE SMITH
Rosemary Claire Smith’s novelette “Apollo in Retrograde” (Analog November/December 2023) won the Sidewise Award for Alternate History. Over the years, Analog has published her time-travel tales, alternate histories, and other science fiction stories, as well as several editorials. Rosemary’s science fiction, fantasy, and horror stories also appear in Amazing Stories, Beneath Ceaseless Skies, Fantastic Stories, and other periodicals and anthologies. Her interactive adventure game is T-Rex Time Machine. Rosemary has worked as a field archaeologist and a lawyer. Follow her on-line at www.rcwordsmith.com and across social media at RCWordsmith to find out what else she is up to.
An Unexpected Questions interview with Rosemary can be found here, and you can find the story she wrote for Amazing Stories here.
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Editor’s Note: Amazing Stories urges all authors and artists to seek professional representation (agent/attorney) and to remember that the “art” game is one that is based on long-term investment, not short-term gain. Remember that the value the work holds is expressed through intellectual property rights. Authors and artists should be licensing LIMITED rights to their work, and should retain as much control of the dispensation of those rights as possible.
Steve Davidson is the publisher of Amazing Stories.
Steve has been a passionate fan of science fiction since the mid-60s, before he even knew what it was called.
