Accepting a submission call for a story of limited length forces you to be your own editor. You have to discipline yourself in telling the story you want to tell in as few words as possible.
For me, writing has a purely instinctive stage. I start by just getting out what I want to get out and worry about whittling it down and cleaning it up later. I like to turn the characters loose and let the scenes take on a life of their own.
But, as you keep one eye on the word count, you realize you have to go back and decide what to sacrifice. How can you convey the same information in fewer words? Which information or character expression is unnecessary? What's the best way to streamline each scene effectively? And, which scenes are completely unnecessary? You start to feel like you're deciding who to push out of the lifeboat. But, then you remind yourself that you'll never improve as a writer unless you learn to cut the flab from your own work and let the story become an instrument to get the point across as effectively as possible.
You write for yourself, but learning to develop an editorial facility means you're writing for the reader as well. That means getting to the heart of it without sacrificing the soul. Hard sometimes, especially when you're having fun with a story. But, it's like dieting; learn to internalize a regimen and you'll be pleased with the result.
Tuesday, September 6, 2016
Monday, September 5, 2016
Why Do My Posts Always Seem to Land on Holidays?
Because the first Monday of the month often is, I suppose...
It's been a busy time for me this month, and part of that was getting Ghosts, Gears, and Grimoires ready for bed. The manuscript is currently in production's hands. Can't wait to see the final package!
Putting together an anthology is a labor of love. It is a very fine balance making sure all the stories work together, make the page count, show variety--a thousand other considerations. As both an anthology editor and frequent contributor, I just wanted to remind all our writers out there that an anthology rejection is not always because your story needed more work than we could realistically give it...sometimes, the story is PERFECT--for another anthology. I got so many submissions that were well-written but without a speck of Steampunk. Couldn't use them. They didn't fit the theme of the anthology.
As a writer, it is your job to read the requirements carefully and make sure that your story meets them. The Pac-Man story wasn't even Victorian...I might have been able to stretch a little, but not that far.
As an editor, it is my job to think outside the box if there is a quirky story that fits the requirements but might need a little work to polish it up. It is NOT my job to make your story fit the guidelines.
I love editing anthologies, but I don't see how someone does it all the time. It is exhausting! My hat's off to those who do nothing but anthologies--or even more extraordinary--still manage to make time for their own work as well. I'm a once-a-year anthology editor. At least for the time being. ;)
It's been a busy time for me this month, and part of that was getting Ghosts, Gears, and Grimoires ready for bed. The manuscript is currently in production's hands. Can't wait to see the final package!
Putting together an anthology is a labor of love. It is a very fine balance making sure all the stories work together, make the page count, show variety--a thousand other considerations. As both an anthology editor and frequent contributor, I just wanted to remind all our writers out there that an anthology rejection is not always because your story needed more work than we could realistically give it...sometimes, the story is PERFECT--for another anthology. I got so many submissions that were well-written but without a speck of Steampunk. Couldn't use them. They didn't fit the theme of the anthology.
As a writer, it is your job to read the requirements carefully and make sure that your story meets them. The Pac-Man story wasn't even Victorian...I might have been able to stretch a little, but not that far.
As an editor, it is my job to think outside the box if there is a quirky story that fits the requirements but might need a little work to polish it up. It is NOT my job to make your story fit the guidelines.
I love editing anthologies, but I don't see how someone does it all the time. It is exhausting! My hat's off to those who do nothing but anthologies--or even more extraordinary--still manage to make time for their own work as well. I'm a once-a-year anthology editor. At least for the time being. ;)
Saturday, August 6, 2016
He's baaaack...
And, here comes the anticipated second volume in Mocha's paranormal exploits of the great Sherlock Holmes: "Curious Incidents: More Improbable Adventures."
I was very happy to hear about this one and have eagerly started work on my submission, which is about half written. I did find the idea of putting Holmes into alien realms distant from his familiar Victorian environment a bit of a challenge. The atmosphere of 19th century London in many ways seems part of the appeal and workings of Conan Doyle's immortal sleuth. But, as the saying goes, you can take the man out of the fog but you can't...well, you know.
As a science fiction writer, I have to design characters whose personal qualities, psychology and backstory justify the way they act and react in the hypothetical world in which they exist. But, they're a part of that world, and it a part of them. Transplanting someone else's character into worlds of your own creation is much more of a stretch.
Especially a character like Holmes, who everyone knows, who has familiar characteristics and personal qualities that are well established and must be honored. So, determining how Sherlock (and, Watson, for that matter) would react to being ripped from their familiar surroundings and thrust into not only unfamiliar but largely incomprehensible events and environments requires careful analysis of the characters. Like any characters, they are shaped by the culture and conditions of their native era and once displaced from it would have to adapt not only to alien viewpoints and mindsets, but to knowledge that might upset their self-defining world views.
As the POV character, Watson provides the emotional appeal of confusion and distress, his limited 19th century scientific knowledge and Victorian sensibilities placed hopelessly out of their depth. Holmes is always the anchor point because his defining strength has always lain in his ability to extrapolate the truth through logical deduction based on the available facts. In theory, a truth, no matter how outlandish can so be determined through pure intellect. In practice, of course, it's not usually that easy, since the cultural prejudices and assumptions of the observer can cloud his interpretations of the facts in ways even he doesn't suspect. But, the investigative prowess of Sherlock Holmes has in many ways always depended on his cold, purely detached outlook on life. Since he has little or no visible emotional attachment to the world around him, he can more easily adapt to new and unfamiliar landscapes, since the rules of logical deduction are universal.
The one thing that seems to get Sherlock Holmes fired up is the intellectual challenge of an unusual and intriguing case. For the writer, coming up with appropriate challenges for him in which he can survive worlds of limitless boundaries and yet remain the one and only Sherlock Holmes is the puzzle that needs solving.
I was very happy to hear about this one and have eagerly started work on my submission, which is about half written. I did find the idea of putting Holmes into alien realms distant from his familiar Victorian environment a bit of a challenge. The atmosphere of 19th century London in many ways seems part of the appeal and workings of Conan Doyle's immortal sleuth. But, as the saying goes, you can take the man out of the fog but you can't...well, you know.
As a science fiction writer, I have to design characters whose personal qualities, psychology and backstory justify the way they act and react in the hypothetical world in which they exist. But, they're a part of that world, and it a part of them. Transplanting someone else's character into worlds of your own creation is much more of a stretch.
Especially a character like Holmes, who everyone knows, who has familiar characteristics and personal qualities that are well established and must be honored. So, determining how Sherlock (and, Watson, for that matter) would react to being ripped from their familiar surroundings and thrust into not only unfamiliar but largely incomprehensible events and environments requires careful analysis of the characters. Like any characters, they are shaped by the culture and conditions of their native era and once displaced from it would have to adapt not only to alien viewpoints and mindsets, but to knowledge that might upset their self-defining world views.
As the POV character, Watson provides the emotional appeal of confusion and distress, his limited 19th century scientific knowledge and Victorian sensibilities placed hopelessly out of their depth. Holmes is always the anchor point because his defining strength has always lain in his ability to extrapolate the truth through logical deduction based on the available facts. In theory, a truth, no matter how outlandish can so be determined through pure intellect. In practice, of course, it's not usually that easy, since the cultural prejudices and assumptions of the observer can cloud his interpretations of the facts in ways even he doesn't suspect. But, the investigative prowess of Sherlock Holmes has in many ways always depended on his cold, purely detached outlook on life. Since he has little or no visible emotional attachment to the world around him, he can more easily adapt to new and unfamiliar landscapes, since the rules of logical deduction are universal.
The one thing that seems to get Sherlock Holmes fired up is the intellectual challenge of an unusual and intriguing case. For the writer, coming up with appropriate challenges for him in which he can survive worlds of limitless boundaries and yet remain the one and only Sherlock Holmes is the puzzle that needs solving.
Monday, August 1, 2016
Deadlines, deadlines, deadlines!
One of the hardest parts of being a writer is sticking to the deadlines. And, when they are stretched out before you, several months out, it is easy to ignore them.
"I'll get to that tomorrow...I have time."
Until tomorrow IS the deadline, and you still are no where near the Finish Line.
Procrastination is one of a writer's biggest foes. It is so easy to put things off, and so hard to focus on getting them done now. That is why I am struggling with three books to finish by the end of August...
That old saying "Never put off until tomorrow what you can do today" is really good advice. But you can't do everything in one day either. Make a list of everything you need to do and prioritize it to get the big stuff done first. And it is best to write this list down, as checking things off or crossing them out is a great incentive.
Mix in a few quick and easy tasks here and there so you don't get completely discouraged, but keep your eye on the Big Picture so you don't run short of time.
It is okay to focus on one project at a time, but it is equally okay to do something from several projects in a day, as long as they all get completed on time.
Give yourself a workday. "I will write/edit/promote/clean house/etc. from 9 AM to 5PM" (if it is your entire job...) or "I will write two hours a day." (if that is all you have available.) And limit distractions for that time-frame. But don't work straight through on one project for eight hours without a break, because you stop seeing what you are editing, or miss things in your proofreading, etc, if you don't get up and at least circle the living room now and then.
And one of the things of extreme importance is reward yourself for milestones. (Even if it is something as simple as watching a rerun of America's Next Top Model...or catching Pokemon.)
If you can't tell, I am codifying this for myself as much as you, Gentle Reader! ;)
"I'll get to that tomorrow...I have time."
Until tomorrow IS the deadline, and you still are no where near the Finish Line.
Procrastination is one of a writer's biggest foes. It is so easy to put things off, and so hard to focus on getting them done now. That is why I am struggling with three books to finish by the end of August...
That old saying "Never put off until tomorrow what you can do today" is really good advice. But you can't do everything in one day either. Make a list of everything you need to do and prioritize it to get the big stuff done first. And it is best to write this list down, as checking things off or crossing them out is a great incentive.
Mix in a few quick and easy tasks here and there so you don't get completely discouraged, but keep your eye on the Big Picture so you don't run short of time.
It is okay to focus on one project at a time, but it is equally okay to do something from several projects in a day, as long as they all get completed on time.
Give yourself a workday. "I will write/edit/promote/clean house/etc. from 9 AM to 5PM" (if it is your entire job...) or "I will write two hours a day." (if that is all you have available.) And limit distractions for that time-frame. But don't work straight through on one project for eight hours without a break, because you stop seeing what you are editing, or miss things in your proofreading, etc, if you don't get up and at least circle the living room now and then.
And one of the things of extreme importance is reward yourself for milestones. (Even if it is something as simple as watching a rerun of America's Next Top Model...or catching Pokemon.)
If you can't tell, I am codifying this for myself as much as you, Gentle Reader! ;)
Tuesday, July 19, 2016
SUBMISSION CALL!!! Curious Incidents: More Improbable Adventures
Mocha Memoirs Press is pleased to announce that they will be publishing another Sherlock Holmes anthology with editor A.C. Thompson! So sharpen those pencils and get ready to write.
“The game is afoot!”
Welcome back to
Baker Street! Holmes and Watson are there to greet you once more with amazing
tales of murder, mayhem, and mystery with a supernatural twist. This time the
great detective and his stalwart companion will venture into alternate
universes, histories, and futures to solve puzzling cases of the paranormal
beyond the bounds of imagination.
In Curious
Incidents: More Improbable Adventures, I am looking for stories that
diverge from the original canon setting of Victorian England. The adventures
should be paranormal in nature, but the universe is completely open. In fact,
stories set in the traditional
Victorian will not be considered.
Some examples of alternate settings might be: steampunk, weird west, distant
future, space, ancient world (ok, so I’d just really like to see if someone
could do it…), dystopian, American noir, or even modern times (BE CAREFUL WITH
THIS. I CAN’T PUBLISH SHERLOCK BBC FANFICTION!).
Word of warning:
Sherlock is a beloved character with a very distinct voice and manner. We
want to be sure that we keep and/ or expand on those attributes that have made him
a literary icon. However, I am very interested in seeing diverse
characters in starring roles (gender, ethnicity, etc.). The entire original
canon is available on Kindle for FREE. Take advantage.
This time, I’m a
little more flexible with genre. I am looking for stories that will fall into
the speculative fiction genre and all
its subspecies (horror, sci-fi, fantasy, steampunk, magical realism, gothic
horror, etc.). I’m even being adventurous this time and allowing for a romantic
element as long as you stay true to the character, but NO EROTICA (it’s not
that kind of book). The important thing is--- it has to have a paranormal
thread. These are CURIOUS INCIDENTS, not everyday occurrences.
Let your
imaginations run wild and give me something I haven’t seen before!
Publication of CURIOUS
INCIDENTS: MORE IMPROBABLE ADVENTURES will again be handled through Mocha
Memoirs Press and therefore, all submissions are subject to their general
guidelines which include, but are not limited to: no bestiality,
glorified rape, necrophilia, hate language, etc. We are not seeking
erotic stories for this anthology.
DEADLINE FOR SUBMISSIONS: October 14, 2016
Minimum word count: 4,000 not to
exceed 8,000
Payment: split royalties + 1
contributor copy.
General Mocha Memoirs Press Submission
Guidelines:
·
Submit your work to animprobabletruth.mmp@gmail.com with “CURIOUS INCIDENTS” Sub: [Your
Story Title]; [Your Name] in the subject line. Attach your story as a DOC or
DOCX file. Submissions sent in the body of the email will not be read.
Stories should be in 12pt, Times New Roman font. Please double space.
Don’t forget to include a title page that includes all contact
information.
·
Include a brief cover letter in the body of
your email stating your name, pen name (if using one), story title with word
count, a brief (1 paragraph) synopsis, and bio.
·
No simultaneous submissions, please. We ask
that you do not submit a story to us and to another market at the same time.
·
Multiple submissions—sending more than one
story for consideration—are okay. If sending more than one story, please send
them in separate emails.
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