Graduate Essay: J.W. Alden–Submitting Short Fiction to Professional Markets

J.W.Alden_8x10_300dpi_3J.W. Alden is fascinated with the fantastic. He lives near West Palm Beach, Florida with his wife Allison, who doesn’t mind the odd assortment of musical instruments and medieval weaponry that decorate his office (as long as he brandishes the former more often than the latter).

Alden is a 1st Place Writers of the Future winner, an active member of SFWA, and a graduate of the 2013 class of the Odyssey Writing Workshop. His fiction has appeared in Nature, Daily Science Fiction, the Unidentified Funny Objects anthology series, and various other publications.

Read more from him at http://www.AuthorAlden.com.


When you’re just starting, the prospect of selling fiction can be an exciting goal. There’s nothing more validating than an editor paying you actual money for your work. But there’s a question every new author faces when they start submitting stories for publication: to pro or not to pro? The road to publication is paved with rejections, and the bigger the market, the thicker the competition. But that doesn’t mean you should sell yourself short! If you’ve written a story you feel is ready for publication, that means your amateur days are behind you. It’s time to turn pro.

 

Don’t Self-Reject–Start at the Top

You’ll never make a sale if you don’t submit. Selling to the pros (or anywhere else) starts first and foremost with having the guts to send your story out into the wild. And that’s easier said than done! It’s no small feat to take something you’ve labored over, a piece of yourself, and send it off to be judged by strangers. If you think about that too hard, you might find yourself coming up with excuses to keep it tucked away, out of the light. The more prestigious the market, the greater that temptation can become. Continue reading “Graduate Essay: J.W. Alden–Submitting Short Fiction to Professional Markets”

Interview: Graduate and guest lecturer Scott H. Andrews

Photo credit: Al Bogdan
Photo credit: Al Bogdan

Scott H. Andrews, 2005 graduate, will be a guest lecturer at this summer’s Odyssey Writing Workshop.

Scott lives in Virginia with his wife, two cats, nine guitars, a dozen overflowing bookcases, and hundreds of beer bottles from all over the world. His literary short fiction has won a $1000 prize from the Briar Cliff Review, and his genre short fiction has appeared in Ann VanderMeer’s Weird Tales, On Spec, and Space and Time. He is a World Fantasy Award finalist for his work as Editor-in-Chief and Publisher of Beneath Ceaseless Skies, a Hugo Award finalist fantasy magazine that Locus has called “a premier venue for fantastic fiction, not just online but for all media.”

Visit him online at http://www.scotthandrews.com, on Facebook, or on Twitter @Scott_H_Andrews.


When looking for stories for Hugo-, World Fantasy Award-, and Parsec-nominated magazine Beneath Ceaseless Skies, you look for “stories that focus on the character.” What advice would you give to writers who want to create more well-rounded, fully realized, and interesting characters? Do you think there is a difference between coming up with interesting characters in short stories versus novels?

I think the core thing that every character must have is a motivation. All compelling characters want something. Even if they can’t articulate what they want or don’t know what it is, or even if what they want is an antithetical thing, like wanting to not have a goal.

For characters who are more well-rounded or fully realized, I like a concept I’ve seen attributed to the great SF and literary writer Samuel R. Delany. Characterization often isn’t in the details of the character so much as the contradictions between those details. Imagine a character who’s a stockbroker and drives a luxury sedan. Then imagine a character who’s a stockbroker but drives a beat-up old pickup. That contradiction between those two details immediately adds another dimension to this character. It instantly feels unusual, and thus interesting. It immediately brings questions to mind: why does this stockbroker drive such a car, whereas most stockbrokers don’t and most people who drive such a car are not stockbrokers. I think contradictions are an extremely powerful characterization technique for making characters feel well-rounded and interesting.

To go beyond characters that are merely well-rounded or interesting to ones who resonate with me profoundly, I love the concepts that Faulkner mentioned in his Nobel Prize speech, which George R.R. Martin–who is routinely praised for his characters–often quotes. Faulkner said the only thing worth writing about is “the problems of the human heart in conflict with itself;” the universal truths of “love and honor and pity and pride and compassion and sacrifice.” Things like that for me really cut to the core of what it means to be human. I often find that characters who truly move me, who make me sit there in stunned silence for a moment after I’ve finished a story, are ones who touch on universal facets of human nature like those. So Faulkner’s articulation of them, while for me not by any means a method or checklist, is a good yardstick for elements that can make a character resonate profoundly with me.

I don’t think there’s any innate difference between coming up with characters for short stories versus novels. They all still need a motivation, and for me they still need to be resonant in some way. Both stories and novels have plenty of room for characters to undergo a character change, in a convincing way. I think however there is a big difference in the amount of space that those different lengths allow for the writer to develop that characterization. In a short story, the characterization needs to be clear and concise from the start; there isn’t time for it to slowly accrete through multiple incidents and interactions the way that characterization can build in a novel.

Beneath Ceaseless Skies is a magazine for literary adventure fantasy. What suggestions do you have for genre writers looking to use more literary techniques in their writing? Are there any resources in particular that you recommend?

I think a great resource for genre writers looking to use more literary techniques in their writing is the vast wealth of literary-leaning genre stories published in online magazines. We are in a golden age of literary techniques being used in genre writing, especially in short fiction, and much of that short fiction was published in online ‘zines and is available for free. To find literary-leaning stories, I might recommend starting with pieces that were finalists for major awards; stories that receive notice for awards are often more avant or literary. Another strategy would be to survey magazines that tend to publish literary-leaning stories, like BCS or Clarkesworld, and look for authors who’ve been published there multiple times.

I would also recommend that writers looking to use more literary techniques be adventurous in experimenting with literary techniques or approaches in their stories. Experimentation works great in the smaller form-factor of short fiction, where you can try something unusual or off-the-wall but with a much smaller investment of time and work than a novel.

I also think that readings from bygone high school or college English class are resources worth considering. Much of that material if you’re looking for pleasure reading is pretty dry for most people, me included, but all of that fiction is considered quite moving or profound by a consensus of some experienced readers. If there’s a classic literary author whose work is still in your head years later or who you hear mentioned by genre writers, maybe look up an old piece of theirs that you might have been forced to read back in school and see if it offers you any inspiration or insight now. It might contain something interesting and different that you weren’t experienced enough as a reader or writer back then to notice, or that you haven’t seen in genre works that you’ve read. It might spark you toward something literary-leaning or open your mind to a different direction. Some of those English-class writers of course have solid connections to our genre–Bradbury, Orwell, Huxley–and some genre writers are becoming common in lit courses–Tolkien, Le Guin.

You’ve read quite a number of short stories over the years as an editor. For writers looking to improve their understanding of how short stories work, how would you suggest critically reading stories with an eye to improvement and understanding? Are there particular elements critical readers should look for?

As with all fiction writing, I think that breaking down what an author is doing on the page can be invaluable as a way to gain insight into writing.

One way I like to critically break down a story is to look at it overall. View it as chunks or elements summing to a whole. How was it structured, how did it flow and escalate, how did it reveal information about the world or character. What expectations did it raise, and how or whether it delivered on them. How did it build to a peak, and how did that peak resolve (or choose not to resolve). Did it overall work for you, as a reader, or did it not, and why. Is it similar to what you, as a writer, are trying to do.

Another important way to break down a story for me is to look very closely at the opening. A story’s opening must hook readers and editors, but there are a thousand different ways to achieve that. It must give readers everything they need in order to slip into the story, but it can’t give them so much that it drives them away. One way to break down an opening is to read it extremely slowly, one phrase at a time or even one word at a time, holding a piece of paper over the rest of the words to hide them from your eyes. Then stop after each phrase or word and think about what’s going on. For each word or phrase you read, does it make you want to read on, or not? And why. Is it interesting to you, or not? Are you engaged, and if so, by what? What sort of lures is the author using to make you want to keep reading–such as curiosity, mystery, disquietude, tension, humor? Because that sort of word-by-word analysis is exactly what’s happening in my head when I read the opening of any story. Each word and phrase in that opening is either engaging or luring me somehow or it’s not, and that’s what makes me keep reading. After the first paragraph or so, you can speed up the analysis to one sentence at a time. Are those next couple paragraphs continuing to keep you reading? Are they building things, such as character and world, at an engaging level of increase? How are they doing as far as raising questions and expectations for you as a reader, and escalating or answering questions and expectations that the first paragraph raised?

A more challenging but incisive way to break down a story is to analyze its voice. Voice, for me, is the key factor that sets a story apart and makes it feel unique. How is an author you admire, or a story whose voice affects you, pulling off that voice on the page? What word choices and tone and style are they using to do it? How could you execute that sort of voice, in a way that might work for your characters or story? Voice is ephemeral and more difficult to analyze, but doing that can offer great insight into how great writers achieve it on the page.

Can you talk a little about a story Beneath Ceaseless Skies has recently published, explaining what initially drew you to it and why you bought it for the magazine, and providing a link to the story?  That will allow our readers to compare your reaction to their reactions and perhaps gain some insights.

Last October in our Seventh Anniversary Double-Issue, we published BCS 183 7 Anniv “The Sons of Vincente” by I.L. Heisler, who coincidentally is an Odyssey graduate.  It’s concise yet vivid; a great story to experience as a reader, then analyze more closely.  It’s available at this link, as text and ebook and audio podcast:

http://www.beneath-ceaseless-skies.com/stories/the-sons-of-vincente/

Several things in the opening drew me.  From the very first paragraph, the voice has a great feel to it for me; imposing and intense, slightly poetic but not overly so.  The opening lines have vivid and tactile images, shown very concisely and with a tone of emotion to the details.  That’s important to me, that details are not just details but also are conveying a sense of mood or emotion.

The opening also gets immediately to a situation of character conflict, in the second and third sentences:  the narrator is fleeing, and his mother is assuring him he will be safe.  But we don’t know why or what from, and that makes me curious.  We also don’t know, from his childlike perspective, if his mother is lying or not, and that makes me feel uncertainty.  I want to keep reading to find out.  We also get concise hints of the paranormal world:  the narrator has snakes on his scalp; he must be some sort of Gorgon-like creature.

As the opening continues, the narrator’s situation gets completely upended.  It’s a moment that shapes his motivation for the rest of the story, and it’s portrayed so emotively that it makes me not only understand his motivation but also feel it along with him.  That’s always important to me–I need to not only know or understand a character’s motivation, but I need the story to make me feel it too.  I am moved by what happened to him, so I feel why he is driven to do what he does.

The story overall is intensely character-centered, about this young man working toward what he’s driven to do.  The story never spells out what exactly he wants ultimately to do, but it shows you his intense attitude about what he’s doing, and that attitude makes me feel his motivation for myself even though the story isn’t yet revealing exactly what he wants.

The story is told over a long span of time, which sometimes makes a story feel less acute or immediate to me, but this one zooms in from its time-lapse narrative to include vivid and emotive episodes of character interaction, and those live-action episodes keep things feeling acute for me.  It has details showing this particular society, and details of a craft or trade, in this case stonecarving.  I always want to feel the world that a story is set in, and I always like getting details and jargon of interesting trades.

As the conflict builds, there are threads of escalation that are clear and others that are subtle.  There are strong emotions from the characters, like love, grief, and cruelty.  There is emotional pathos. All the incidents and threads fit together and resonate with each other as the story builds to a climax that ties in the subtle threads and casts a new light over everything that came before.

And all over a rather short length; the story is only 2800 words long. In addition to all the great things it includes, I think it’s also a fine example of a fantasy story with very concise world-building.  Some settings require more story room to show them than others, but this story demonstrates that it’s definitely possible to write secondary-world fantasy short fiction at short lengths.

As a guest lecturer at this summer’s Odyssey Writing Workshop, you’ll be lecturing, workshopping, and meeting individually with students. What do you think is the most important advice you can give to developing writers?

I think the most important advice I can give to developing writers is about being a neo-pro writer or workshop grad, about experiences that many neo-pros or workshop grads will face. I think I’m uniquely qualified to lecture about that because I’ve seen it from both an external perspective and an internal one. I’m a workshop grad neo-pro myself, and I’ve been through many of the experiences that neo-pros and workshop grads encounter. I can speak directly to those thing from an internal, personal perspective. I also am friends with over a hundred such writers from Odyssey and other workshops, and I’ve interacted with probably another thousand neo-pro writers who’ve submitted to BCS. I’ve seen that same neo-pro stage of being a writer also from the outside, a more objective viewpoint, so I can speak to that side of it too. I’ve lived the challenges of being a neo-pro, and I’ve watched a thousand other neo-pros live through them too.

A single and important piece of such advice for developing writers would be this: regardless of whatever studying or instruction or workshops or courses or critique groups you are using to improve your writing, I think it’s important to always make sure to still be yourself. Make sure that your writing still is uniquely yours; make sure you still keep in it whatever unique essence or slant or personality that is you. Writers often ask the question “why do you write.” Another variation on that is “what are you trying to say with your writing.” What do you want your writing to do. I think it’s important, especially when studying or workshopping or critiquing, to not lose sight of the unique personality that your writing has, and what you want it to accomplish. That is the element that sets your writing apart from everyone else’s in the galaxy. That is the thing that will let your writing offer a unique contribution.

What’s next on the writing-related horizon? Are you starting any new projects?

I am trying to write a novel! It’s the third or fourth novel I’ve tried to write in the last five years. I’ve had to tear down and rebuild my process multiple times, but I think I have found one that will work, so I am at the same time trying to write a novel and trying to learn how to write a novel. Hopefully I’m on my way out of Rivendell, not merely still stuck in The Shire. 🙂

Graduate’s Corner: Rebecca Roland–Working With a Small Press

Becky Roland headshotRebecca Roland is a 2007 graduate of the Odyssey Writing Workshop (and chief correspondent for this blog).

She is the author of the Shards of History series, and The King of Ash and Bones, and Other Stories, all published with World Weaver Press, as well as The Necromancer’s Inheritance series. Her short fiction has appeared in publications such as Nature, Fantastic Stories of the Imagination, Stupefying Stories, Plasma Frequency, and Every Day Fiction.

You can find out more about her and her work at rebeccaroland.net, her blog Spice of Life, or follow her on Twitter @rebecca_roland.

This post is a bookend to our June essay by Eileen Wiedbrauk, Editor-in-Chief of World Weaver Press.


When I was offered the chance to write a guest post on what it was like to work with a small publisher, I jumped at the opportunity because I’ve been wanting to write this up for a long time. I’ve had a great experience working with a small press, and I want to share that so people can figure out if a small press might be a good fit for them.

My first published book came out in 2012 with World Weaver Press. To say I was nervous about the entire experience would be like saying that Bruce Banner might have a teensy anger issue. Although I knew what the process was to take a book through all the steps of publication, more or less, I was scared of somehow messing up.

But the nice thing about being a brand-spanking-new author with nervous tendencies fractured days and working with a small press is that I worked directly with editor and publisher Eileen Weidbrauk. She answered all my silly questions and guided me through the process of edits, line edits, cover reveal, social media posts, and so much more. Her business partner, Elizabeth Wagner, works in marketing and set me up with a blog tour.  She gently nudged me into starting a blog of my own and walked me through what to do on social media. Eileen designed bookmarks for me to hand out, and she pointed out a podcast opportunity I never would have noticed on my own.

Initially I thought the novel they published would be a standalone, but a couple of years later I wrote a sequel and approached them with it. I didn’t have any sort of obligation to write the sequel, and I certainly didn’t have a deadline other than the one I imposed on myself. This worked out extremely well for me since I wrote the sequel in snatches of time here and there, while working part-time and while my son was a toddler.

Speaking of a standalone novel, one of the cool things about small publishers is that they’re often more willing to publish a standalone, where big publishers have a tendency to publish series. So if you have a strange, niche novel, or if you have one that will stand by itself, then you may be able to find a home for it with a small publisher because they often have more flexibility.

king of ash and bonesI anticipate publishing with one of the big publishers some day. I definitely believe that working with a small press will carry over in terms of discipline (I strive to work within deadlines when they do exist… even my own self-imposed ones), professionalism, feeling confident with putting my ideas forward for the project, marketing, and designing a timeline/career for myself.

I have to admit, one of the coolest things about working with WWP from the time they started publishing was watching them grow. And yet, they’re still small enough that it feels like a family. My publisher sends me holiday cards and cards commemorating the release of my books. She knows that I adore corgis and chocolate, and I enjoy her stories of brutal Michigan winters (as I am usually enjoying a temperate Southwest season, ha ha ha! Ahem.) I cheer for other WWP authors when they publish something new, I host them on my blog (or they host me on theirs), and best of all, I get to read some great stories by great authors before they even come out.

Working with a small press is a great way to ease into the publishing world. You learn the ins and outs of publishing, and you meet some fabulous people along the way who will support you and your writing career for a long time to come.

Graduate’s Corner: Small Presses: Tiny But Mighty, by Eileen Wiedbrauk

Eileen WiedbraukEileen Wiedbrauk is Editor-in-Chief of World Weaver Press and Red Moon Romance, as well as a writer, blogger, book reviewer, coffee addict, cat herder, MFA graduate, fantasist-turned-fabulist-turned-urban-fantasy-junkie, Odyssey Workshop alumna, photographer, designer, tech geek, entrepreneur, avid reader, and a somewhat-decent cook.

She wears many hats, as the saying goes. Which is an odd saying in this case, as she rarely looks good in hats.

Eileen is online at eileenwiedbrauk.com, @eileenwiedbrauk, @WorldWeaver_WWP, and Facebook.com/worldweaverpress.


Small presses play a multi-faceted role in the publishing industry, whether they’re focused on commercial/genre fiction or if they’re boutique/literary arts presses (the latter are often associated, at least marginally, with a university or arts endowment).  I’ve had the pleasure of running World Weaver Press, a speculative fiction small press, for the past three years, and before that I studied so-called “little and literary” publishing in grad school. Continue reading “Graduate’s Corner: Small Presses: Tiny But Mighty, by Eileen Wiedbrauk”

Interview: Scott H. Andrews, Part Two

WFC2012-ScottAScott H. Andrews lives in Virginia with his wife, two cats, nine guitars, a dozen overflowing bookcases, and hundreds of beer bottles from all over the world. He is a graduate of Odyssey 2005. His literary short fiction has won a $1000 prize from the Briar Cliff Review, and his genre short fiction has appeared in Ann VanderMeer’s Weird TalesOn Spec, and Space and Time. He is a World Fantasy Award finalist for his work as Editor-in-Chief and Publisher of Beneath Ceaseless Skies, a Hugo Award finalist fantasy magazine that Locus has called “a premier venue for fantastic fiction, not just online but for all media.”

Visit him online at http://www.scotthandrews.com, on Facebook, or on Twitter @Scott_H_Andrews.


Can you tell us the most common mistakes authors make in submitting to BCS or interacting with you? Continue reading “Interview: Scott H. Andrews, Part Two”

Interview: Scott H. Andrews, Part One

WFC2012-ScottAScott H. Andrews lives in Virginia with his wife, two cats, nine guitars, a dozen overflowing bookcases, and hundreds of beer bottles from all over the world. He is a graduate of Odyssey 2005. His literary short fiction has won a $1000 prize from the Briar Cliff Review, and his genre short fiction has appeared in Ann VanderMeer’s Weird Tales, On Spec, and Space and Time. He is a World Fantasy Award finalist for his work as Editor-in-Chief and Publisher of Beneath Ceaseless Skies, a Hugo Award finalist fantasy magazine that Locus has called “a premier venue for fantastic fiction, not just online but for all media.”

Visit him online at http://www.scotthandrews.com, on Facebook, or on Twitter @Scott_H_Andrews.


Congratulations to you and the staff of Beneath Ceaseless Skies on your Hugo nomination for Best Semiprozine! 

Continue reading “Interview: Scott H. Andrews, Part One”

Interview: Sheila Williams

Sheila WilliamsSheila Williams will be a guest lecturer at this summer’s Odyssey Writing Workshop. She is the two-time Hugo-Award-winning editor of Asimov’s Science Fiction magazine. She started at Asimov’s in June  1982 and served as the executive editor of Analog from 1998 until 2004. She is also the co-founder of the Dell Magazines Award for Undergraduate Excellence in Science Fiction and Fantasy Writing  (formerly the Isaac Asimov Award for Undergraduate Excellence in Science Fiction and Fantasy Writing). In addition, she coordinates the websites for Asimov’s(www.asimovs.com).

Sheila is the editor or co-editor of twenty-five anthologies. The most recent are Asimov’s Science Fiction Magazine’s 30th Anniversary Anthology (Tachyon Publications, 2007), which received a starred review from Publishers Weekly and was on the 2007 Locus Recommended Reading list, and the 2010 Enter A Future: Fantastic Tales from Asimov’s Science Fiction, which is exclusively available for Amazon’s Kindle.

Sheila received her bachelor’s degree from Elmira College in Elmira, New York, and her master’s from Washington University in St. Louis, Missouri. During her junior year she studied at the London School of Economics. She lives in New York City with her husband, David Bruce, and her two daughters.


What is the most common mistake that writers make in their manuscript submissions to you? Most editors develop pet peeves as they encounter manuscripts that continually violate submission guidelines or make some other irritating mistake. Which one bothers you the most? Continue reading “Interview: Sheila Williams”