Category Archives: Submissions

Connecting

1636-The-Devils-Opera-smallMost of us are not so egocentric that we write strictly for our own pleasure. We want our work to connect to readers. We want to know that we are touching someone; that our work creates a resonance in at least one reader who feels what we are trying to create in the stories that only we can tell because of who we are.

So first, writers write. That’s the core truth of our craft and art. All of the writing rules boil down to: tell a good story; finish what you start; and edit/revise/polish enough to make it right. If that doesn’t happen, nothing else matters.

Second, we have to connect with readers. You’ve been reading a number of articles this month on ways to accomplish that. I was asked to write about my own experience, because it’s a bit different.

I broke into publishing through Eric Flint’s unique alternate history shared writing universe that is based on his bestselling novel entitled 1632. (Details and background here.)

I believe this is the most successful shared universe ever. It’s approaching seven million words in print, with fifteen novels in print as of next month, eleven anthologies of shorter fiction, and approaching sixty issues of the Grantville Gazette e-magazine (called GG by the regulars). The novels and anthologies, both paper and e-book, are published by Baen Books; GG is published by Eric Flint, but is strongly associated with Baen Books. So this experience is, for all intents and purposes, one in the traditional publishing channels.

I wasn’t part of the core group of fans who started writing what amounted to fanfic and posting it to Baen’s website after 1632 was published. (See details and background link above.) I didn’t enter the picture until after the second issue of GG was published in 2003.

I’d been trying to write a novel for years; had absolutely no experience at short fiction. But I got hit with a story idea after reading the first two issues of GG. And the rest, as they say, is history.

It’s been eleven years since I submitted my first story. As of now, I’ve published close to 300,000 words of short fiction with GG, most of which have been included in subsequent anthologies or my e-book 1635: Music and Murder, published by Baen in 2013.

The thing is, in this venue, I have no control over production, scheduling, or marketing. That’s all in the hands of Baen Books personnel for the books or Eric Flint and the editor (Paula Goodlett) for GG. Nonetheless, I do contribute.

1632 is a group brand, and my contribution is to be professional in the ways I plug into the brand’s operations. First, part of the uniqueness of the GG submission process is that prospective stories are submitted to a forum on Baen’s Bar where they are peer-reviewed for mechanics and story universe continuity and quality of story. Even at this stage of my career I have to do this. Likewise, I am expected to participate in this exercise from the other side of the table; to read submissions and provide critiques. Both the submitting and the critiquing calls for utmost professionalism as I grow both as a writer and as a member of the community.

Second, when the editor(s) call for changes or modifications to the story, accommodate them without complaint or argument—within reason.

Third, contribute to the community:

One way is to share links and information about the 17th century with the rest of the 1632 community. You never can tell what will be helpful to another writer. I had a story jump-started by a list of lute-players at the court of Gustavus Adolphus that another writer had found and linked to the forum.

Another way: Eric schedules annual 1632 “mini-cons” partnered with other conventions around the country. They move around every year.  This year’s mini-con will be held at LibertyCon in Chattanooga. Several of us make an effort to be there every year to support the group brand, to interact with fans, and to be a part of central planning and discussion with Eric about where the series is headed.

Yet another way is to attend other cons, spreading flyers, bookmarks, and other swag, and keeping the 1632 brand in view at other venues. (I have a 1632 Ring of Fire t-shirt I frequently wear.)

Most of the overt marketing is done by Baen Books or by Eric Flint. But I and the other GG authors contribute to supporting the group brand. And in so doing, I help to support my individual brand as well.

The GG enterprise has to date published over 130 authors, most of them first-timers. A significant number of those authors qualified for SFWA membership based on their GG resumes alone. Over the years, Eric has been watching the list of GG authors, and every once in a while he will reach out and tap someone and say “Let’s write something together.” I was the third one he tapped, and the result was my first published novel, 1636: The Devil’s Opera. I was the first GG author he tapped, though, to work on a project outside of 1632. The result was the third novel in his Jao Empire series, entitled The Span of Empire, tentatively slated to be published by Baen in September 2016.

Writing a good story, and being diligent and professional in everything else, those are the keys. Everything else is details.

Shameless plug: Grantville Gazette is always looking for new writers. If you think you might be interested in writing in one of the most interesting alternate history universes around, check out the links mentioned above. If you can tell good character based stories, give it a try. They pay professional rates; currently six cents a word, if I remember correctly.

David CarricoDavid Carrico Bio:
David Carrico has been an avid science-fiction and fantasy reader since January 1963, when he encountered a copy of Andre Norton’s novel Catseye.  He started writing (mumbledy) years ago, but has been selling professionally since 2004.  Most of his work is alternate history.  His first book, an e-book entitled 1635: Music and Murder, was published by Baen Books in September, 2013.  It’s a collection of two different groups of stories which collectively provide the backstory for his second book, 1636: The Devil’s Opera, a novel published by Baen Books in October, 2013, in both paper and e-book formats.  Both books are laid in Eric Flint’s Ring of Fire alternate history universe, and the novel was co-written with Eric.
David is married, has three kids, five grandkids, two great-grandkids, and usually has at least a couple of Basset hounds lazing around the house somewhere.

Style As Your Fingerprint

There’s not a lot out there about developing one’s writing style. Because it’s supposed to be yours, right? No one is supposed to help you shape that:  it’s uniquely yours. YOUR voice. But how far, exactly, can you go with that? When does style obstruct grammar rules? When does style turn off potential editors and publishers? Unfortunately, there is no right answer.

Let me explain.

Over the years, I have heard various editors from Baen, Harper Collins, Shadow Mountain, and other publishing houses on panels explain, “I want something new. I don’t want the next Stephen King. I don’t want the next Stephanie Meyer. I want you. I want your unique style and your unique voice.” One might be thrilled to hear this call for individualism. “Then I’ll send in my personal style where I don’t use quotations, and don’t capitalize anything!” I want to say that takes it too far. But then again, there’s James Frey. Munch on this little excerpt from his break out novel A Million Little Pieces.

Hey, Buddy.
His voice is deep and dark.
Hey, Buddy.
Tracks crisscross his forearms.
I’m talking to you.
Scars run the length of his wrists.
I’m talking to you.
I look in his eyes. They’re blank.
What?
He points.
That’s my chair.
I turn back to the television.

Did that blow your mind? It should. Most manuscripts that stylized do seem to make it past the slush pile… across the desk and into the trash can.

“Perhaps I’ll send in my manuscript of one-liners that play around a semblance of a plot!” Again, I’m hesitant to negate this, too. Behold the king of one-liners, Oscar Wilde.

“How about my hard-to-follow stream of consciousness novel?” I must hold back from rolling my eyes and sighing, as this is what James Joyce is famous for.

“Ah, but my extremely lengthy novel filled with citations!” I would say that would be

This is DFW's annotations on Don De Lillo's Players, for crying out loud. Imagine what Infinite Jest is like.
These are DFW’s annotations in Don De Lillo’s Players. Now imagine what Infinite Jest is like.

boring, but then again, David Foster Wallace’s Infinite Jest is on almost every bookshelf of every English major in America.

A very wise editor and friend, Joshua Essoe, once told me something along the lines of: “Prove you know what the rules are before you go and break them.” I think this is fantastic advice for new writers. Editors and publishers need to trust that you know what you’re doing. Slowly injecting your style as you go is the way to job security.

At the same time, I can’t help but wonder: what if the authors I’ve mentioned above had done the same? Maybe if they hadn’t boldly stepped out into the world with their styles fully realized, style wouldn’t be as important as it is today. Maybe we should be so bold as to say, “Yes, I know my style is unique, but just read it, and let me know if it doesn’t just knock your socks off.” Because chances are, if your story is solid and engaging, your style will only add to it.

About Kristin Luna:
Kristin Luna copyKristin Luna has been making up stories and getting in trouble for them since elementary school. She writes book reviews for Urban Fantasy Magazine, contributes to the blog The Fictorians, and her short story “The Greggs Family Zoo of Odd and Marvelous Creatures” was featured in the anthology One Horn to Rule Them All alongside Peter S. Beagle and Todd McCaffrey. Her short story “Fog” recently appeared on Pseudopod. Kristin lives in San Diego with her husband Nic.

The Submission Sanity Saver

Are you a disorganized person? It’s okay to admit it. We’re friends here, and this is a safe place. Here, I’ll go first. I am extremely disorganized. I don’t keep a calendar. My desk at work is a mess. I consider organizing things to be a hassle, and I detest hassle. I’ve long skated by on a better-than-average memory. That document from last week? It’s in the third pile on the right, the one that’s teetering on the edge of falling.

The problem is, as I’ve gotten older, my brain has gotten more full and, well, older. My once-vaunted memory has begun to fail me. Sooner or later I’m going to have to admit that, and start being more organized like a normal person. But probably not.

Still, there’s one organizational decision I’ve made that I don’t regret in the slightest: surrendering my short story submission process to Duotrope. Duotrope is a one-stop-shop website for submissions. Short and long fiction, nonfiction and poetry, Duotrope has you covered. They currently list over 5,000 markets, and continuously update their list as new markets become available. They feature a robust search engine where you can specify which criteria you are looking for in a market. They list acceptance rates, pay scale (or lack thereof), average response speed (or lack thereof) and each market’s page on Duotrope links to the market’s main site.

Simply put, I would be utterly lost without Duotrope.

Every time you submit, you complete an entry with the name of your story (stored in your account database), the venue and the date of submission. Duotrope starts counting days. When you get a response,  you update the entry, and the site uses your inputs to improve its own venue database. Better still, they keep records of every story you’ve submitted and which markets you’ve submitted it to. They even compare your acceptance rate to others who have submitted to the same market and give you a sense of how you’re doing.

Just this morning I was thinking to myself that I had a story out on submission. I couldn’t remember which venue or, honestly, which story, but I was fairly certain I’d submitted it awhile ago. Surely, I thought, I should have heard something by now. I logged into my account to see if I’d run over the expected amount of time for this market. Turns out my memory just wasn’t so hot (damn you, age!). I’ve still got sixteen days left until the story has been out past this market’s normal response times.

Now for the bad news. While the site was free when I began using it, eventually soliciting donations was apparently not enough to pay their bills. They have since gone to a pay system, which is unfortunate for those without much disposable income, but at $50.oo a year, I consider it a steal and well worth it. They even offer a free trial! If you do a lot of submitting and have been trying to keep track of it all yourself, I strongly suggest you consider giving them a try.

 

Greg LittleRocket scientist by day, science fiction and fantasy writer by night, Gregory D. Little began his writing career in high school when he and his friend wrote Star Wars fanfic before it was cool, passing a notebook around between (sometimes during) classes. His novelette Some Say in Surf appeared in the Spring 2014 issue of The Colored Lens. When not working or writing, he enjoys the occasional video game. He lives in Ashland, VA with his wife and their yellow lab.

Gambling With the Guidelines

Short story submission guidelines can sometimes look like a laundry list of Thou Shalt Nots. Thou shalt not write longer than the longest long that we can brain…Thou shalt not have more blood splatter than a Quentin Tarantino movie…Thou shalt not profane the Flying Spaghetti Monster…Thou shalt not write about clowns eating pudding…

Most of these are pretty solid rules but some can be skirted and occasionally — if you’re willing to take the risk — you can ignore one or two entirely. How can you tell which are which? Well when in doubt abide by the rules. This isn’t something that a novice should try. When gambles like this pay off it’s usually because the writing is so good that the editor is willing to overlook the disregard. And as I said, most of the guidelines should be obeyed regardless.

For example, when editors say they don’t want to read a story based on your favorite D&D campaign or one that has enough sex and profanity to make Howard Stern blush, they mean it. The former they see often enough to go into convulsions at the mere mention of it and the latter they can’t publish because it would offend their target audience. They know what their audience better than we do so it’s best to take their word on it.

Word counts on the other hand can be a little more flexible. Magazine and anthology editors know how many words fit on a page and how many pages the budget will allow. They also have an idea of how many stories they would like to fill those pages with. If your story is a slightly under the minimum count, you can still submit it without too much fuss. Every editor that I know prefers too short to too long. Especially since it gives them breathing room for the other submissions. That being said, if you’re over the word limit you’re better off shaving those excess words. It’s hard to write short and few can do it well so it’s not a good idea to assume that there will be a story that’s short the exact number of words needed to accommodate yours. Plus some editors won’t read anything over the maximum because they don’t want to fall in love with a story they can’t buy.

One of the less clearcut gambles lies in the domain of themed anthologies. Say an editor is putting together a collection of stories about magical flying red pandas (because who doesn’t love red pandas?) and they want them in the style of Mr. Rainbow McSweetandfluffy. The best thing to do would be to write exactly that. However, if Sweetandfluffy isn’t your thing but Ms. Dark McThrilling is you could submit that in the hope that the editor decides that your story is exactly what the anthology needs to prevent the readers from going into diabetic shock. But then again, they might not.

This kind of gamble is similar to investing in the stock market. You may lose on your investment at first but if you stay the course you might make a profit months or years in the future. The editor might pass on your McThrilling because they really do want only Sweetandfluffy. But if they need McThrilling-style stories for a different project they might invite you to write for that instead. There’s no guarantee that they’ll buy it but it does mean that the gamble paid off. The editor wouldn’t have invited you if your red panda story didn’t make a good impression. Of course there’s that pesky if. Make the wrong impression and there won’t be an invitation.

Whether it’s wise to gamble is up to you. I’ve had mixed success but that’s the way of it.