01 Jan 2016
I’m pleased to announce that my short story “Windows” will be appearing in Escape Pod for Artemis Rising, a month-long event featuring women and non-binary authors.
This is my second sale, and the first one to a SFWA qualifying market, so I am very excited. Onward!
31 Dec 2015
I always want to know about submission statistics. How many stories do most people send out? How many times do they get rejected? What’s the most common story length? Genre? Highest number of times rejected? Fastest acceptance? I’m not sure why I find submission statistics so fascinating–perhaps it’s just interesting to look at the data.
In 2015, I sent out 14 new stories, received 2 acceptances and 59 rejections. Both published stories were rejected 2 times before getting accepted. My most rejected story received 11 rejections. I trunked one story, and the rest are either submitted or waiting to be sent off.
My shortest story was 250 words. My longest 6,300. Most of my stories were flash fiction, or close to it, with 9 stories coming in at 1,500 words or less. The total number of words submitted was about 33,000. (But oh man, did I ever write a bunch of stuff that I never finished or immediately trunked without submitting.) I’d classify 7 stories as science fiction and 7 stories as fantasy. Until I categorized them all, I didn’t realize I’d written an even split. I didn’t do it on purpose–I just wrote what I felt like writing.) I submitted to pro, semi-pro, and token markets.
I should mention that I’m cheating, since these numbers also include the last few months of 2014 (when I started writing.) I also have a few stories that are basically done and just need some light revision, so those will be included in the 2016 statistics, even though I wrote them this year.
Overall, this was a decent year. Much better than I expected. I got something published. (Yay!) And I have another story coming out next year. That’s a win in my book.
17 Dec 2015
Up until this point, I’ve been submitting stories in a somewhat haphazard manner. Sure, I take notes about market guidelines and keep a whole bunch of spreadsheet to track my stories, but I don’t have a system for choosing where to send stories. I needed a system, so I made The List.
After looking at my data on various markets, I compiled an ordered list of magazines. It’s not fancy–just a long list of names–but now I won’t have to waste energy figuring out where a story goes next. Of course, I’ll still follow submission guidelines (so no novellas to places that only want flash fiction), but if the story fits the guidelines, I’m going to send it.
Before The List, I tried to match the story with the magazine, but it turns out I’m terrible at guessing what’s a good fit. And I think it’s too easy for writers to “self-reject”–to think that a market would never be interested, when in fact they might. I’m going to stop guessing what editors want and just send them my best writing.
I ordered my list based on a few factors. First, I prioritized markets on the SFWA qualifying list. That’s often a marker of good things, like stability and higher pay rates. (Also, it would be neat to qualify for SFWA someday.) After that, I considered a number of factors–response rate, reputation, payment, personal rejections, and how much I enjoyed the published stories. (I’d like to add in circulation statistics, when I have time to dig those up.) I also did some research on each magazine, trying to find out how published authors fared. (In other words, did anyone have a problem with contracts/payment or any other such difficulties?)
The list is tailored to the stories I write, and I expect it will shift around as I find new markets or as my writing changes. Hopefully this will streamline my submissions process a bit more.
07 Dec 2015
I’m super excited about joining Codex Writers–a group for neo-pro writers of speculative fiction. Everyone seems quite friendly, and I’ve already spent a couple of hours reading the forums.
There are a few ways to qualify for Codex membership, which leads me to my other exciting news. I’ve had a short story accepted by a pro market on the Science Fiction & Fantasy Writers of America (SFWA) list. This is only my second acceptance, so I was totally surprised and delighted. Once I sign the contract, I’ll post more details, but for now, I’m just going to squee a bit.
23 Nov 2015
In her writing book Steering the Craft, Ursula Le Guin discusses how a story must have narrative movement. The reader should feel that something is happening, that the story is moving along.
It’s easy to confuse narrative movement with action. In college, I was assigned an excerpt from Le Morte D-Arthur, which I believe suffers from this problem. (To be fair, it was written in the 1400s.) There’s a description of a battle that goes something like this: Sir Beefy Dude knocked Sir Muscle Guy off his horse, and woe fell upon Sir Muscle Guy, for he ran about the field, but the horse could not be recovered. Sir Turnip unhorsed Sir Radish, Sir Muffin unhorsed Sir Cupcake, Sir Balloon unhorsed Sir Moon…
At least, that’s how I remember it. It’s pages of detailed description about which knights got unseated. A literal blow-by-blow of the battle. Getting through it was a slog.
So why is this description so boring? There’s a lot going on–it’s a huge battle scene. But the problem is, there’s not much that’s actually happening. It’s just a list of events. The whole thing could be described in a few sentences, without loss of understanding.
Narrative movement isn’t about a flurry of activity–it’s about feeling like the plot has progressed. Are questions being answered? Are new questions arising? Am I invested in knowing what happens next?
Maybe if I know the backstory of Sir Radish, or if Sir Radish is somehow important to the fate of another character, then I’ll care that he got unhorsed. Otherwise, he’s just a name in a list of names.
But how do we get the plot moving along? Perhaps it’s more about how we build meaning into our stories.
Let’s take another event as an example. Not a huge battle, or an explosion, or anything so grand and terrifying. How about if we have a watch that breaks? This is not immediately exciting. I’m probably not going to run out and buy a book because someone tells me there’s this really cool scene where a watch stops working. But this is the sort of event that can move the story along, depending on the context.
First, we have to care about the watch. Who owns the watch? Does it belong to the main character? Her grandmother? Has it been handed down through generations? Is it a new watch given to her as a graduation present? And how does it break? Perhaps an accident? Or does her jealous sister stomp on it? Does the watch have special powers, perhaps allowing the user to travel through time?
When the watch breaks, it’s going to change something–the relationship between the sisters, for example. Or maybe someone will be stranded in time. The important bit is that the watch changes something significant in the story. Perhaps it forces the characters into action, or creates a new problem.
When I’m drawn into a story, it’s usually not because of explosions or battles, shouting or sex or gore. It’s because I care about the characters and the situation. And when something happens to change the situation, that’s what moves the plot forward.