In terms of presence in the F&SF field, in my view, authors roughly fall into five categories: wild and continuing bestsellers, such as Robert Jordan, Brandon Sanderson, Sarah Maas, and, recently, Rebecca Yarros; solid bestsellers; those lauded by various media, often regardless of sales; and everyone else.

Like a number of moderately successful authors, it took me years to become a successful full-time writer, i.e., one with a writing income sufficient to support a family.

My first science fiction story was published in 1973, a few months shy of my thirtieth birthday. My first novel appeared in 1982, a month after my thirty-ninth birthday. Given those dates, I was never considered an up-and-coming young F&SF author. In fact, I was rarely mentioned in F&SF trade publications. My first New York Times bestseller, as I recall, was Princeps, the second book of the Imager Portfolio, and that didn’t occur until I was in my sixties, although I did have another Times bestseller and have had quite a few Recluce books on the USA Today bestseller list in my fifties and thereafter.

Part of my comparative lack of “presence” in the F&SF field in my early writing years was likely because I didn’t even attend any conventions until I was forty-five. In fact, I really didn’t even know what a convention was or what it entailed, and working as a political appointee in Washington, D.C., took an enormous amount of time.

Another part was, I suspect, that my work has never fit into any of the F&SF marketing genres. I’ve never been nominated for, let alone won, a national award in the F&SF field, but I have won a few regional awards as well as awards in the romance field, including a Romantic Times Pioneer award, despite never having written an explicit sex scene (except for one).

Another factor is that my books appeal to a wide variety of readers, rather than a specific market segment. Because of these factors, the tours I did for Tor from roughly 1996 (after I left Washington, D.C.) to 2015 consisted of an evening signing every day and visiting as many bookstores as I could before and sometimes after the signing. Unfortunately, given the demise of so many bookstores and the smaller inventories of most of the survivors (and the greater restrictions on what managers of chain bookstores can order), this kind of handselling/personal presence marketing is no longer as effective as it once was in gaining and/or maintaining an authorial presence.

Another factor hampering author recognition is the effective demise of the mass market paperback, combined with the fact that most of the remaining bookstores carry much smaller numbers of backlist titles. Since eBooks are the replacement for mass market paperbacks, these days authors need to maintain some form of internet presence, but the problem there is that maintaining a presence on Facebook, X(aka Twitter), Instagram, and TikTok can be a full-time chore in itself, leaving less time for actually writing (which is why I only maintain a website).

And then, there’s the “fan” factor. For various reasons, the way and what certain authors write results in a sort of charisma that creates a wide and self-sustaining fan base, not necessarily based on the technical expertise of the writer, but usually where vivid storytelling subsumes everything else.

Given all the changes in publishing and communications, I’m glad I started writing when I did, because I suspect that, were I starting today, it would be difficult if not impossible to get published traditionally (given that it wasn’t easy back then) and almost that hard to establish a presence in the field as an independent self-published writer.

But then, who knows? “What ifs” are speculative at best.