This is a little bit especially for people in the early days of their sending-their-writing-to-total-strangers-and-asking-them-to-publish-it careers. Which is daunting. It was for me. It was every time I did it, and so far I’ve chalked up around 200 rejections for 4 acceptances, only two of which are still in print (in the sci-fi world, small mags can come and go fast).
Rejection sucks no matter where you find it, but it’s worth it. And it’s just part of the game. An editor gets hundreds of stories for every one they print. Rejection might mean you need to do more work on your story or your writing in general — but it also often means a story isn’t a good fit for the mag, the upcoming issue, or the editor just likes another story a smidge more. Just part of the game.
But anyway, I had this little exchange. Maybe you can take something away from it.
If you’re going to submit stories, and you might have more than one in circulation — and that’s likely if you’re steadily writing. It can take an editor a day or two to reject a story (Clarkesworld, in my experience, was always quick to reject me, and that’s not only because my stories didn’t do it for the editor, but because they have notoriously fast turnaround in general probably due to hard work and fast reading). Or it can take two weeks, or two months for some markets, sometimes even more. Take a peek at the bottom of the landing page of the Submission Grinder — they keep a running list of response times reported by writers. They also maintain a great list of markets to send stories to if you’re doing that.
It’s very easy to end up with multiple stories in play at once.
So you can use a tracker sheet like I do (below). Or keep a digital record on a spreadsheet. Or something else that suits you.
The advantage of the simple little one-story-per-sheet tracker is it’s very easy to see where a story has been so you don’t send it back to the same place twice (which is a no-no 99.9% of the time).
The weakness of this sheet is that you have to look over all the sheets for all the stories that you have out at a time to make sure you are not submitting a second story to the same market that hasn’t yet decided on the first story you sent them (also a no-no 99.9% of the time).
Personally, I can live with that. You may not be so excited, in which case I’m sorry I wasn’t more help!
The notes section gives you a place to write “send more” if the editor says send more, or anything else you think is relevant. It also gives you a place to note the exclusivity period on the story if you’re accepted so you know when you can resubmit it to a reprint market or self-publish it (which, of course, is my personal game).
Here’s the tracker sheet I use. I wanted simple, so I made simple. I just copy-pasted it here — I don’t know if you can copy it and use it in this form. If not, drop me a comment and I can email you the .doc file.
There are a lot of book bloggers reviewing books. But it’s rare to see them review a short story collection, and a review of a single short story is practically a unicorn.
So maybe as a short story writer I ought to step into the vacuum and review some short stories?
On the con side, I have long shied from writing reviews. I have a past of avoiding conflict and writing a review, especially if I’m not impressed with the story, has the potential to create conflict.
Sometimes that kind of conflict has gotten over the top and bizarre.
But people have probably been hunted down over tweets and I don’t pull a lot of punches as @Tao23.
I haven’t written a ton of reviews. But on the other hand I’ve picked apart plenty of stories, in constructive ways and adversarial, as a reader, as a gabber with fellow sci-fi fans, and as a student while working on my English MA.
And, on the pro side, I do have the qualifications of writing and reading a crapton of short stories.
What do y’all think? If there a place for this kind of thing?
I used to have a Twitter account that was intended to be a writing-only, no politics or social commentary, version of my primary @Tao23 account.
Does that sound like a boring idea? It was. It bored me and a few people told me it was a boring idea and I stopped using it. So it sat fallow for a few months.
And then I decided that, being a science fiction writer, it might be fun to occasionally write a tweet from the future. Which future? Any future that popped into my mind, of course. I’m the guy who has written and published over 100 short stories with hardly any occupying the same universe — I can think of maybe 2 or 3 times that I’ve come back to a world for a second story.
My writing may or may not be a reflection of my ADHDHEYASQUIRREL to some degree.
Anyway, it’s fun, and it’s kind of another brainstorming outlet and I might get a story idea or two out of it one day, and it’s a flexible enough concept that I can be political or social or silly or nihilistic or hopeful or whatever my mood is that
So. Go look and follow and enjoy, or not, as the urge moves you. Also, I might take suggestions or retweet your tweet from the future if you’d like. Especially if accompanied by bribes — I accept cash, pizzas, or chocolate.
…everyone else has to wait until June 8th to buy a copy (Preorder @ Amazon, Barnes & Noble, iBooks, Kobo, (have I missed any? OMG) or Smashwords). Here’s the short description appearing with retailers:
Maladapt is a mini-collection of four short stories totalling just under 15,000 words.
These are stories about the struggle to adapt to the coming future. About coming to terms with migrating to a robotic body, to telepresence, to universal surveillance and what it means to those of us who don’t quite fit in. They’re stories about FAILURE to adapt, and the victories to be won beyond failure.
If you’re not already one of my patrons, this would be a good time to get in on the ground floor. And grab your free copy. And free copies of a few other things which are posted as files or just plain old posts — sometimes I post microfiction, or full-length short stories as text posts.
My fans & readers are relatively few right now. But I am stubborn, and readers check in with me (here or on Twitter @Tao23) from time to time to tell me they enjoy what I write. So unless a meteorite squishes me unexpectedly, I anticipate being here and on Patreon writing stuff and posting early copy and exclusives for a good 20 or 10,000 years depending on my natural lifespan and how good medicine becomes and whether or not I get to upload into a robot body when this meat one wears out AND OF COURSE if I earn enough money and/or respect to afford and/or merit all the cool death-dodges the future may hold.
That’s where Patreon patrons and people who buy my books come in.
Please join my Patreon and/or buy more S.A. Barton books.
Daddy needs a new pair of robot bodies.
Fine, okay, there were some bits that are never fun. Like building an ebook table of contents or going through a bunch of stories written in standard manuscript format and deleting all the tabs so they won’t screw up the ebook.
But yeah, I liked it. There are 21 science fiction stories in there, arranged roughly from the nearest future to the most distant. From the most plausible to the most conjectural. From the least to the most alien-to-us-today vision of humanity.
There are self-driving cars and artificial intelligences in love and undersea civilizations and killer climate change and all sorts of other good stuff.
You can preorder it from Amazon right now. Or from Barnes & Noble, or Kobo, or Smashwords. Or Google Play Books. Or the iTunes bookstore. Or… there are others. How many others I cannot guess. The internet is big. 🙂
The release date is December 24th. Who doesn’t need something to read on Christmas Eve? I do. Ugh, the stress!
The working, 99.9% sure I’m using it, title is Closer Than You Think and I’m planning to have it ready for pre-order as an ebook in November and released in December in time for Christmas!
I have over 50,000 words of short stories and novelettes ready for it right now, and if a couple more stories come together I hope to release it at 60,000 or more. That’s on top of the serial I’m doing over the next couple of months. And tweeting too much. And my coursework in my second master’s degree (Communication / New Media — the first just wrapped up in June and is in, surprise surprise, English / Creative Writing). And Patreon pieces like SciFi News Network and thirteen word stories. And homeschooling our 3 and 5 year old sons with the help of my wife and adult stepson. And any work the ugly, rickety trailer all five of us live in needs to keep it from falling apart before we can move the hell out at some as-yet-undetermined date in the future which will be sooner rather than later if you are kind enough to buy, read, and review some of my stories or head over to my Patreon to help me improve my life and income and readership by establishing some reliable and significant income from this writing thing I’m doing.
Um, hint-hint. Seriously, if you can, do the stuff I just said. Because living in this little crappy trailer and having next to no money is stressful and makes it hard as hell to write anything at all because DISTRACTIONS and WORRIES and from the list of stuff on my mind in the previous paragraph I’m also WAY TOO BUSY but everything has to get done if I want to make sure MY FAMILY DOESN’T END UP LIVING IN A VAN DOWN BY THE RIVER. *cough*
But I was supposed to be telling you about the collection so let’s do that: Closer Than You Think will focus on human stories on or near Earth. No aliens, no space travel. Just the future of humanity right here in our cozy ancestral home which we’re currently polluting and crowding up and apparently baking with this climate change thing we’ve done to ourselves.
The stories will progress roughly from near future to far future — from tomorrow to a couple thousand years in the future. There will be stories of failure, disaster, ambition, success, mistakes, and just plain weird futures where humanity has become something most of us would consider just a bit… alien. Despite the lack of “Little Green Men” in the stories.
It’s going to be awesome, and you’re going to love it.
Some art that made me say, “cool!” and a few tweets led to some bigger thoughts on genre writing – which is a pretty normal thing, small ideas leading to larger ones, if you’ve done some writing or pretty much any art I can think of or serious thinking.
I found Travis Durden’s Star Wars Greek statuary through a tweet I saw a couple of hours ago (on the 27th — this post first appeared on my Patreon page (would you like to support a not-quite-starving writer? Please do! Because every penny helps tear down the budget worries that often occupy my mind when I’d rather be writing) in the wee hours of the 28th) (tweet posted below). Durden’s art is seriously neat stuff.
Which lead to this tweet:
And this one:
And finally this one:
After I graduated from kiddie books so many years ago, I cut my reading teeth on science fiction. I tried reading the paperbacks my father brought home from used bookstores and quickly learned to look for the short story collections and anthologies — I’d recently learned to read, it was hard enough to work through all the words I didn’t recognize without trying to figure out what was going on in a whole novel. But the shorter short stories, in those early years, I could wrap my mind around those. And remember (well, you might not have known, so I’m telling you) this was in the mid-70s, when certainly many authors in science fiction and elsewhere may have been experimental in their writing, but the mainstream in short science fiction stories was heavy with straightforward plots, traditional story arcs, and mysteries resolved with a single final twist. There’s plenty of that now, to be sure. But either there was more then or those are what I remember because they’re the stories I understood as a child.
That’s a long way to go to say that science fiction seemed huge to me, but it did. It seemed huge and very distinct because it was my entire fictional world then. Nursery rhymes and the little stories found in early reader books — if you’ve had or been around small children just learning to read much, you’ll recall them — hardly counted.
And science fiction is distinct, or at least distinctive. The definition has been endlessly debated over, but most of us who read much of it recognize it when we see it. The same goes for the other genres I mentioned in that last tweet. Horror is distinct enough that we notice the difference, for example, when we read a Stephen King horror story as opposed to a Stephen King something else. Legends have a pretty distinct definition. Magical realism blurs the lines — sometimes it’s fantasy, sometimes it’s science ficiton, sometimes it’s literary, sometimes, sometimes, sometimes.
That’s the genre that really makes the point, with its blurryness.
They’re all blurry, really. Think of Star Wars: get a SW fan who calls it science fiction and a SW fan who calls it science fantasy in the same room and watch the genre boundary argument fur fly.
We love to dicker over what story counts as which genre and who’s that writer whose work is called X but really it’s more Y don’t you think?
To say they’re all fiction is too simplistic. But there’s that in pointing out that genres are small things that cannot really contain a story, not the large and well-defined things we’re tempted to think of them as, that we often reflexively think of them as after a scholastic lifetime of being taught the boundaries of genre.
They’re all stories. They’re all about human beings and what human beings do and think and feel and wonder. All of them, even the genres where there is debate as to whether or not they’re fiction or nonfiction: mythology, legend, religion.
They’re stronger when they wander, stories are. When we get it into our minds that we can’t write in X event because we’re writing science fiction or that Y character doesn’t make sense because we’re reading fantasy, we weaken the stories that we might otherwise love, whether we’re reading them, writing them, or representing them in other forms of art. For centuries fiction and poetry have derived inspiration and imagery from religion and mythology and legend (assuming you divide stories that faith has grown up around into those rather than lumping them together). Star Wars is beloved science fiction in part because it incorporates elements of fantasy and legend and even, at least in the beginning, of the Western movie.
Try picking out a few of your favorite stories that have won wide acclaim or are considered enduring classics. Give them a read with this in mind, and look for where the genres blur. You don’t need a story that glaringly throws seventeen genres together; one that’s mostly in one but draws in bits of others is just fine — even better, in fact.
Much like the ancient advice that a single stick alone is weak but a bundle of those same sticks is strong together, I think you’ll find that stories that gather together elements of different genres are the strongest.
And I also think that it’s more than worth the effort to seek them out as a reader, and to try to create them as a writer.
Do you remember this being a thing? I don’t. I do remember the Atari 2600 — plenty of people do. They were all over the place, one of the earliest and most popular video game systems.
But this ‘double-ender’ thing… really? I had no clue before I saw this image. But apparently they saw some success and were an early attempt to mate theme music to games in a way that made sense (and sounded better than the often-cheesy SFX of the 2600).
But my point isn’t “look at this weird thing from the past”… although it’s admittedly a side-point.
My point is, we forget a lot about the past. We’re here, and it’s back there. As with seeing and hearing, the farther something is from us, the less detail we perceive. The same is true of time. The farther back in time a thing is from us, the less we know about it (in general — historians generate specific and focused exceptions). When I’m writing a story that takes place a century or two in the future and the past becomes relevant to the characters, I have to ask myself what they might know and what they might not. What is important to us now, or at least present in our general knowledge, that will be lost to non-historians or entirely lost to the people of the future? If I’m writing something set fifty years from now, maybe they have no clue what Glee was, or that you couldn’t hang a TV on the wall with thumbtacks like a poster. Ten thousand years from now (and I have a couple of stories set that far ahead), and maybe they don’t know what a ‘nation’ was.
Knowledge, like the proverbial pebble dropped in a pond, casts a ripple effect. Knowing one thing implies knowing what a thousand other things are, and it shapes how a person behaves in entirely unrelated matters.
Lack of knowledge acts the same way. And the way you handle that and understand that in your stories about the future will have a ripple effect upon the quality of those stories.