Category Archives: Editing

Editing, publishing, SNAFU

Update, SNAFU: Dead or Alive

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First, I want to give a shout-out to all the authors who subbed to SNAFU: Dead or Alive. *SHOUT-OUT TO ALL THE AUTHORS!*

Penning a story is an accomplishment in and of itself, and something for which you should be immensely proud. Sending said story out in the world can sometimes be a terrifying thing, but send it out you did and I am truly thankful for having read some great stories. But as is the way with slush, cuts need to be made. The first round of rejections have started going out, and if you’re on the receiving end of one of those, know that I read your story in full and appreciated the effort and time that went into sending us your work. Thank you. Thank you for showcasing the talents of the authors in this writing community. Keep up the amazing work!

Which brings me to the next round of the slush process: longlist.

Over the next week or so, all stories that have made it through to the longlist will be read again, and from this a shortlist will be made. While this may seem like a tedious process, it’s the process that works for me. It’s a lot of reading, it’s a lot of note-taking, it’s a lot of angst. Stories don’t just have to grab me by my ear and drag me in but curating an anthology requires stories to work together to make a kick-arse whole, and I don’t take this responsibility lightly.

As I move through the longlist-to-shortlist, the process does become quicker as the stories cement in my mind and the ToC starts to take shape.

Part of this process does mean that I’ll have to reject excellent stories, and that’s always a difficult and painful part of curating anthologies. It really is the shittest of shittest parts of the process—every editor will tell you the same.

So if you find yourself on the receiving end of a rejection, please know you wrote a great story, and keep on putting pen to paper… or fingers to keyboard. You are the reason publications can keep putting out anthologies.

For those of you who have moved through to the longlist, bear with me as I work through—you haven’t made this easy!

Thanks again to all the authors who subbed to Cohesion Press. You rock!

Editing, publishing, Ramblings, Writing

Giddy-up! It’s submission time!

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Mount-up, my friends, Cohesion Press‘ submission period for the next in the SNAFU series is upon us! SNAFU: Dead or Alive is open for subs, and we want your best weird western, action, horror stories.

As the editor-in-chief for Cohesion, and as is my wont, I always supplement the guidelines with my thoughts on the process and detail what we’re looking for and what we most definitely do not want to see in the slush pile. As is also my wont, this post will be filled with gifs to visually enhance this post because snark via gifs is such fun!

Right, don your riding boots and ten-gallon hat, let’s get this rodeo started!

See the source image

If you’ve read this far, I’m also hoping you’ve read the guidelines (super important), and understand that we want ACTION and MONSTERS within the theme of weird westerns. Both of those points are vitally important. No action? No sale. No monsters? No sale. If you don’t hit theme? You guessed it: no sale.

All the SNAFU series are action-based, military horror anthologies, and I cannot stress enough how that action has to be there if not from the get-go, then pretty soon after. We get a lot of submissions, and you need to grab my attention pretty damn quickly, make me want to read on. Make it impossible for me to not read on. Do that with action or with monsters or with a character(s) I’m invested in… or a combination of all. Give me the heroes and the villains, the hero-villains, monsters that roar and those that slither through shadows. Ignite your imagination of the nightmare kind and put that pen to paper.

There are three phases to the submission period. The first is slush, where I read all the stories and your tale is either rejected or moved to a longlist (note: no feedback on slush rejections, please don’t ask). From the longlist, all stories will be read again and either rejected or moved to the shortlist (note: no feedback on longlist rejections). From the shortlist, the ToC will be selected. Feedback will be given on shortlisted rejections. No acceptances will be given until the submission window is closed, and while we move to make this as quick a process as possible, we are diligent in our decisions, which means don’t expect an acceptance letter the day after the sub window closes.

Right, so now we get to the DO NOT WANT part of this blog post, and while these are mentioned in the guidelines, they always need to be amplified because there are those who either fail the comprehension part of this, or just choose to ignore it. Do not be that person.

The fact that I have to write a post for every sub window about the DO NOT WANT goes to show that this is an issue we continue to have. I like my eyes, do not subject them to the following:

  • Rape as a plot device/backstory
  • White saviour stories
  • Racism, bigotry, misogyny of any kind in the narrative voice
  • Child abuse/paedophilia (can’t believe we have to say this, but we do)
  • Rape as a plot device/backstory (yes, we have to say this twice)
  • Fanfiction or derivatives
See the source image

The moment I come across any of that shite in a story, it’s an automatic rejection. No correspondence will be entered into. There is no justification you can try to make that will have me listen. Guidelines are there for a reason, and the DO NOT WANT is a big damn part of that. If you have any of the above in a story you’re thinking of sending us, rewrite or send it elsewhere – we don’t want it. I cannot make that clear enough.

One of the other things I’d like to address is that this theme might have us see a propensity for white saviour stories. Don’t do that. Don’t write that, and if you think you should, then we don’t want to see it. You may think this theme is ripe for sending us that kind of shitfuckery, but you’d be so very wrong. We ain’t buying.

So many rules! (Guidelines, actually.) But they’re there for a reason, and if you can’t adhere to them, that tells me you’re likely not someone I want to work with through the editing stage.

#josh holloway from Hell is all I've ever known.

Ah, the editing stage. Yes. Your work will be edited. It could be a light edit, it could be a heavy edit — this is dependent upon each story. I am of the mindset that the author-editor relationship is one of mutual respect, and I’m happy to have discourse however, we at Cohesion edit for a reason and we will reject a story (even at ToC stage) for any of the following:

  • rude and/or derogatory comments
  • failure to implement edits and/or rewrites in a timely manner (we work to deadlines)
  • requesting a male editor (true, and shitty story)
  • attempting to slyly add words/phrases to your story that hit the DO NOT WANT marks listed earlier in this post (also a true and shitty story)

Right, that seems to be it from me for now. (Finally, I hear you say, and fair call, compadres.) But I will add that if you’re unaware, the SNAFU series is read by Tim Miller (Blur Studios), and some of the stories published in our editions have appeared in his animated series Love, Death & Robots. So send us your absolute best work. Unleash your monsters, and give us action that has our pulse quicken and our mouths run dry.

And one final note:

We actively encourage submissions from all cultural backgrounds, ethnicities, and identities. Storytelling is for everyone, and we are richer for it when all voices are heard.

See the source image
Cool stuff, Editing, publishing, Ramblings, Reading, Writing

Holy Slush-o-rama!

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Cohesion Press is opening their submission window October 1, for SNAFU: Holy War. So don your writing pants, it’s slush time, baby!

I love this time of… slush. It’s a lot of reading, sure, but every click to open a file ignites that hope, that wonder of finding a gem within. That’s exciting stuff, getting to read stories from authors we know and those we don’t. There’s true joy in discovering new writers, discovering new storytellers, and getting their tales out into the world.

As is par for the course with a SNAFU open call, I like to write a little sumpin’ sumpin’ about what to expect from the process, discuss theme, and provide some general pointers to make this easier for all involved… <opens arms wide> … and here we are. And just a quick note: this post will be filled with ‘David Rose’ gifs… because, well David Rose.

During our last sub-window, I wrote a post on slush and what we look for, plus a general overview of the process, which will be similar although not the same as most slush piles. That will give you a guide to what we’re looking for when it comes to SNAFU stories in the most general way – remember, be on point with theme.

And this edition is a hell of a theme.

As a mate of mine pointed out, the theme of ‘Holy War’ is a “bold move”, hence the specificity of the guidelines we’ve put together, and the special notes on what we DO NOT WANT. Pay close attention to those because we understand that in light of the theme, things could get ugly. So, in short, if you come at me with your bigotry or misogyny or your white-saviour stories, you’re not going to get a look-in. Period. Write better than that, be better than that.

At its heart, the SNAFU series is action-based military horror with characters that resonate and monsters of the nightmare kind. Tales that linger. We’re not looking for slow-burn stories, we’re not looking for trunk stories either (we can spot those, don’t think we can’t). And when we say ‘military’ that doesn’t limit you to soldiers of the contemporary kind, nor does it confine you to modern or on-world settings. We’ve published everything from Neanderthal hunting parties to far-future sci-fi within the same volume.

What we care about is killer stories told well, and considering our theme, there were tropes we wanted to address that we’d rather not see, and some you shouldn’t send us at all. If the first thing that comes to mind when you hear ‘Holy War’ is the Crusades, then that’s going to be a hard sell. We expect to see a lot of those, though we’d rather not. Same with any story that has Christian didacticism (I’ve seen enough of that in our slush to last me everyone’s lifetime). Same with any white saviour stories – we’re not buying.

We want you to think outside the box with this. Do a little research if you must. Theology has a wide range of belief systems, and faith isn’t limited to popularity. Hell, create your own faith-based doctrine, revive a forgotten one. Don’t limit yourself to a Google search. Light a fire under your imaginarium and see where those sparks take you.

Action. The more the better. Let the bullets fly, give the arrows wing, let the blades sink deep into flesh. Blow some shit up. Get the adrenalin surging, blood pumping. Give us that piss-your-pants fear-filled courage. You know, all the good stuff!

Crank up the volume of your monsters, too. Give us the stuff of your nightmare’s nightmares. Give us dread, existential dread that makes you want to sleep with the light on. Make it loud… or make it quiet. The sneaky-sneak of monsters is just as terrifying as a roar that rattles the bones, sometimes more so.

Speaking of dread, one of the things I want to address here is part of the ‘do not want’ section of the guidelines, and something I saw too damn much of during our last sub-window. Just let me get out my all-caps for this: DO NOT USE RAPE AS A PLOT DEVICE/BACKSTORY!

I’ll say again: DO NOT USE RAPE AS A PLOT DEVICE/BACKSTORY!

This should not be your ‘fall-back’ to show that someone is evil or the villain in your story. If that’s the only way you can think to give a character agency, or to show a reader a particular character is bad, then you need to re-engage your imagination. Also, do not send us that shit. You’re wasting my time and yours. It won’t be published by us. “But, but, but…” I hear you say? No. Just no. This isn’t a debate.

Right, on to the last little bit of info re our slush process. We work in phases. Slush is obvs Phase 1, and where a story is either rejected or moved to a long list. During Phase 2, all stories on the long list are read again, and will be either rejected or moved to the short list. Phase 3 is where we’ll make the final decision on the ToC. No story selections will be made until the AFTER the sub window closes.

We do not provide feedback on stories that are rejected in Phase 1. We may provide limited feedback on stories rejected within Phase 2, depending on workload. Should your story make it to Phase 3 and is rejected, we will provide feedback.

We’re writers too, so we understand what it’s like sitting the other side of the desk. We try to make this process as painless and as seamless as possible. Our decisions aren’t open for debate. Oh, and you cannot reject our rejection (true story), just sayin’.

For those of you unaware, three SNAFU stories appeared in season one of Love, Death & Robots, and some other SNAFU stories have been picked-up for season two. Tim Miller reads our anthologies, so if that doesn’t light a fire under your bum to send us your best work, then… well, then… ahh… SEND US YOUR BEST WORK!

/rant

Editing, publishing, Writing

Let’s talk about slush, ba-by…

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Let’s talk about you and me… Okay, okay, so my flashback to the ’90s is a little sad but kinda on point for this blog post. As one of the editors for the SNAFU anthologies, and with an upcoming submission window opening, Matthew Summers and I would like to talk about stories, slush, and selections.

Disclaimer time. The information provided here does not guarantee Matt and I will select your story for publication – plot, character, and voice will. But don’t send us a romance tale when it’s military monster horror we’re after. We will cut you.

Right then. Let’s kick this baby off with the guidelines for the open sub window for SNAFU: Last Stand (just click that link). While stories subbed to Cohesion Press have specific marks that need to be hit, one thing EVERYONE needs to understand when subbing a tale to ANY market is to not only READ the guidelines but ADHERE to them (the adhering is the most important part). Know your market.

Slush, we’ve all been there. Jostling for position, stuck in the hell that is the slush pile, shouting ‘look at me’ as you push toward the roped-off area that is the shortlist. So how do you get past the cordon? Look, reading is subjective – what I like someone else may not (they’re wrong), but if the past couple of SNAFUs have taught me anything, it’s that Matt and I are pretty much on the same page when it comes to story selection. Not once have we had to fight it out (I’d win because I fight dirty, just sayin’). But your opening line, your opening paragraph, has to hook us and the following paragraphs need to reel us in. Your start needs to be strong, and it needs to build from there.

Stuck in Hell by 13UG-13th

Your aim, at this point, is to get onto that shortlist, and a killer opening scene is just the way to do it. Does that mean exploding out of the gate all guns blazing? Perhaps. We love high-action tales, and that’s bound to grab our attention. But it can also be that one line that sets the tone for what’s to come. One of my favourite opening lines from a story in SNAFU: Resurrection is from Conviction by NX Sharps – ‘On the 152nd day of our posting at Fort Conviction, Private Olyver Bagwell shit himself to death.’  That certainly had us take notice.

But the follow-up has to hold water. If your story doesn’t make good on its opening promise, then you could be in some trouble. Think about the story you’re wanting to tell, of the character(s) leading us through. A tale well written isn’t going to resonate as much as one that has me and Matt fate-invested.

That being said, well-written is definitely going to get you a look-in. We want narrative that moves a story forward, we want wordsmiths who know how to give us those evocative visuals that bring the horror, the fear, the dread. Active voice is your friend here. Spelling and grammar? We got that, but too many errors and we’re pulled from the story – it’s the same for all those babies sitting in slush piles.  

With the theme of Last Stand, characters will need to make their mark here. Interpret Last Stand as you will, there are an infinite number of ways to incorporate that into your story, but make that tale linger, make us think about it long after we’ve finished reading. And give us action. Make our hearts beat furiously, give us those ‘oh shit’ moments, and make your monsters fucking terrifying. Remember, this is horror, monster horror… with guns and shit.   

One of the best and hardest part of this process is the final selection from the shortlist. Matt and I have passed on some truly great stories, which is always a difficult thing to do. And we don’t take these decisions lightly – a lot of time goes into decision-making, a lot of discussion and back and forths until we have the mixture just right. We don’t make acceptances as we go; something we love early on may not make the cut because a later story in a similar vein resonates more. Our aim here is to provide our readers with a variety of kick-arse tales, where you don’t know what’s coming but you’re hanging for it just the same. The overriding theme that ties them together, obviously, is ‘last stand’. Make it count.

So while I hope this helps you to understand our process, I also hope it helps you to understand the process for any slush pile you find yourself in. Writing truly is the best gig in the world, and rejections are a part of that. We know. Matt and I both sit the other side of the table, we’ve had stories accepted and we’ve faced that sting of rejection. We understand the work, the effort, the time and the angst that goes into getting those words onto the page, of wrangling your imagination into narrative. We salute every one of you.

And for those of you who make it to that final ToC, just a note here to let you know the work has only just begun. There will be edits. We may ask for tweaks, we may ask for rewrites, we may cut a little, we may cut a lot. Thing is, we’ve been doing this a long time, we know our audience and we know what they like. Be professional, not precious. Co-operation is key here. That’s a two-way street, and we have cut stories because of bad author behaviour. Don’t be that person. Keep communication lines open and listen to us as we’ll listen to you. Our aim here is to get the most out of your story, and we will work hard to make it so.

But just before I go, as you may have seen, the introduction for SNAFU: Last Stand will be written by Tim Miller (yes, of Deadpool and the new Terminator fame). As such, we understand the slush pile may well be large – Tim will be reading the final tales. And if that isn’t a reason to send us your very best, I don’t know what is.

Submission window for SNAFU: Last Stand opens April 1st, 2019. (No, that’s not a joke. Yes, we are laughing.)

Editing, publishing, Ramblings, Reading, Writing

Beta Readers? You betchya!

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So we’ve talked about editors and how to find them, now let’s chat about the unsung heroes and heroines of the publishing process: BETA READERS.

You’re damn right I put that in caps ‒ they deserve all the accolades they get.

For those unfamiliar with the term, beta readers are those who provide feedback on unpublished work before it goes to an editor. They are an essential cog in the machine that is publishing. Beta readers provide an objective overview from a reader’s perspective while giving insight into character(s) arc, plot, world-building, narrative style, and any inconsistencies.

So when should you engage betas?

You’ve finished the eleventy-first draft of your story, you’re probably sick of the sight of it, and you’re at that point where it needs another set of eyes (or three) to see how it’s holding up. Enter your beta readers. Now it’s imperative to point out that beta readers are not editors. You may be lucky enough that one of your betas is an editor, and may pick up spelling and grammar issues, but that’s not their role and it would be pretty uncool to ask them to do so while also providing story feedback.

There are a couple of ways to approach beta reading. You can make a list of things you’d like your betas to look for: eg. character agency and development, any plot holes, narrative style, and even something as simple as: does it make sense. Super-organised writers sometimes provide their beta readers with a checklist or a framework from which to work. Others just let their beta readers have at it, where they can provide feedback via electronic notes on the document, or just provide an overview at chapters’ end or at the completion of the tale.

The thing here is to be clear about what it is you’re looking for from your beta readers, and can they do so within a time-frame. Yes, a time-frame is necessary, especially if you’re working to a deadline. Just be realistic.

 

superhero_t_shirt_by_bangbangtshirts.jpg

Art by BangBang Tshirts

 

So where do you find these mythical creatures?

I’m hoping you have a community you can tap into. This is a big ask of someone, and generally it’s an unpaid project. Reciprocity is your friend here – if you ask someone to beta read for you, don’t be a twat and decline if they ask it of you.

There are groups on Goodreads that offer beta reading, but like with anyone you engage to assist with your book, be discerning in your choices. Hit up your social media sites, ask for recommendations. There are also paid sites that have beta readers; again, be discerning.

You’ll have noticed that I’m using the plural here, because you’re going to need more than one beta reader. I’d suggest at least three, but no more than four. Having too many eyes go over your story and the waters may start to get muddy.

When it comes to choice, try to find those who read in your genre (or alongside it), and even one who doesn’t – mainstream readers will give you insight into readability across the spectrum. Don’t ask a relative unless you’re sure they’re going to give you honest feedback, not just what you want to hear.

And that leads into the next part of the beta reader process: YOU.

If you ask for honest feedback (which is a given, right? Right?) then don’t get all precious, don’t take it personally, and for the love of all things holy and unholy, don’t get angry at them or their feedback. They’ve given freely of their time, provided honest insight in a bid to help you with your book. Be professional. Should you not agree with some of the feedback, you don’t have to take it on. Although should more than one of your beta readers pick up the same thing, then you’ve got an issue that needs to be addressed.

Again: don’t be precious.

In the end, it will be your decision what to take on, and what to let go. But you’re cultivating relationships here, be professional. And be thankful. Beta readers are helping you. Appreciate and respect that.

So we’ll end on some bullet points:

  • Find at least three beta readers – some that read in your genre and, if you can, one that doesn’t. Tap your community (writer community, social media et al.) for beta readers or suggestions; check Goodreads, or websites that offer the service.
  • Be discerning in your choices, clear in your decisions.
  • Ask for honest feedback and mean it – don’t be precious.
  • Provide guidelines for what you’re looking for with the beta read, and ask if it can be met within a realistic time-frame.
  • Reciprocity is your friend – if someone you’ve approached is a writer, offer to beta read for them (and mean it).
  • Be professional. You may not agree with/like the feedback you receive, but this isn’t about you, it’s about getting the best out of your story. Leave your ego behind.
  • You don’t need to take on every point your beta reader makes; the decision to move forward with alterations or not, rests with you.
  • If more than one of your beta readers points out the same issue – it’s an issue.
  • Don’t be precious (yes, it needs reiteration).

 

Remember, beta readers are the heroines and heroes of your publishing journey, be respectful to and thankful for them – they’ve earned it.

Editing, publishing, Ramblings, Writing

Finding the right editor, and when to run like hell

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This post is brought to you by a Twitter thread I came across yesterday about the importance of editors. I recently wrote a post on just such a thing. If you’re disinclined to read that, I’ll break it down quickly: YOU NEED AN EDITOR.

Right then. Within this Twitter thread was information that needs to be addressed, so I’m chucking on my ranty-pants (they’re fabulous, by the way), and I’m going to give you some insights into what to look for in a good editor, and how to help find the right editor for you. Yes, not all editors will be the right fit. (I had a whole thing about editors being like pants, but it just got… weird.)

Aaaanywho, what had me don my ranty-pants was a writer explaining they’d been quoted $10,000 for an edit. I’ll just let that sink in. Ten grand. For an edit. Of one book. Oh, hell no. HELL NO. I don’t know who the so-called “editor” was who thought this was a reasonable quote. If I did, I would call them out on their bullshit. Because bullshit it is. I can’t even fathom an instance where quoting or even charging someone this amount is even within the realm of possibility. That, folks, is a scam. Run far. Run fast.

On the flipside, if you’re quoted say, $200 for a full edit of a novel – run far, run fast. No editor worth their salt would charge this little for a full edit. There’s a lot of skill that goes into editing, and most editors study to gain qualifications, to understand the nuances of English and its building blocks that go into great storytelling. Their qualifications and experience are worth more than two hundred bucks.

imagination

So, let’s break down the two types of editing (I’m not including manuscript assessments as that’s a whole different ball game). Deciding which is best for you depends on where you are with your book.

Developmental (substantive/structural) editing: This is detailed editing for structure, plot and sub-plots, story arc, characterisation, character arcs, and chapter arrangement. It’s your ‘big picture’ side of editing that looks deeply into motivations and conflict, agency and forward movement of both story and character(s). Story elements are broken down to ensure there is cohesion and clarity, as well as looking at pacing, premise, and world-building.

Copy (line) editing: This concentrates on style, tempo, language, spelling, punctuation, and grammar. Copy editing goes through line-by-line to ensure syntax is on point, passive vs active voice, run-on sentences, and dangling participles et al. It checks the mechanics of the writing to ensure it’s on point. (Note: copy editing is not proofreading.)

Now, depending upon where you are with your story, it’s a matter of deciding which type of editing is best for you at this stage of your draft. You can ask for a combined structural/copy edit, but be aware that this would cost more as you’re asking for two separate types of editing to be applied – it’s a bigger job, therefore a higher charge.

Once you’ve decided which type of editing you’re after, how do you find an editor? A good editor. Nothing beats word of mouth. Those writers who’ve worked with good editors will happily sing their praises – ask around. However, this doesn’t mean their editor will be the right fit for you. And it is about fit. The author/editor relationship can be magic when you find the right person. It should be. It’s a meeting of minds to work toward a common goal – making your story the best it can be.

Your other option is to put out a call on social media for editors, but understand you’re probably going to be slammed with offers. And not everyone who says they’re an editor should be calling themselves such. I’ve heard horror stories of “editors” putting errors into work. It drives me to become Sweary McSwearface, as it gives those of us who love what we do, a bad name. Fuck those guys.

Here’s a checklist of things to do/ask when you want to engage an editor:

  • Seek out at least five editors to find the right one for you. Can’t find them in that first five? Contact another five then another five until you find the editor you click with. You’ll know. Trust me.
  • Try to find editors experienced in your genre. They’ll have a better feel for not only the market, but for what works (and what doesn’t) in the story you’re telling.
  • Ask for their qualifications, what formal training they’ve had and where they studied. Don’t be afraid to ask these questions; this is your baby they’re working on, and your money you’re parting with. Note: some fantastic editors don’t have formal qualifications, but their industry experience is beyond reproach, so don’t rule out every editor who isn’t formally qualified, just be discerning.
  • Those who edit for a living will have a website. Check the projects they’ve worked on, then mosey on over to Amazon and hit that ‘look inside’ option and see what you think. Do your research. It will pay off.
  • Ask for a sample edit. This allows you to see if the editor knows what they’re doing, if you like the way they edit, and if their editing style would work for you.
  • Cost is the main reason some writers choose not to engage an editor, and I get it, I do. But a lot of editors are quite happy to discuss and work with you on a payment plan. You won’t know if you don’t ask.

The above points are going to help you weed out the charlatans from the true, but trust your gut. If something doesn’t feel or seem quite right, then move on. There are plenty of good editors out there, you’ll find them.

As mentioned at the beginning of this post, charging ten grand for an edit is egregious. It makes me want to find that person and slap them upside the head… a lot. Charging too little for an edit… well, you get what you pay for.

So what should you expect to pay? Well, it depends on the type of edit you want, the word count (or page count, editors price either way), and the amount of work involved. If we’re basing this on a novel of approximately 100,000 words with no excessive work involved, you should be looking at anywhere in the vicinity of $800-$1500. And even low-balling at $800 is a stretch. That’s a lot of money, yes, but it’s an investment in not only your story, but you as a writer.

Editing should be a teaching experience, and I like to use it as such. If I can explain to you why active voice works better in a high-action and/or high-tension scene, you’ll employ that in your next story. If I explain that shorter sentences convey tension better than longer, drawn out sentences, you’ll take that into your next tale. If I can show that the bloody mist spattering your protag’s face as their enemy chokes on their last, gasping breath craps all over ‘dying in their own blood’, then I’m doing my job right.

So don’t be afraid to ask questions, don’t be afraid to say ‘thanks, but no thanks’, and don’t be afraid to walk away, because when you find the right editor, you’ll find the magic.

Editing, publishing, Ramblings, Writing

To market, to market

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Following on from my previous post about how you should edit your work (aka you’re an idiot if you don’t), I want to talk about markets and how subbing to particular ones may do more harm than any good you think a publication credit of any kind may be (I’m looking at you ‘for exposure’ and ‘token’, you asshats).

As you may have figured out, I have no love of ‘for exposure/token’ markets – it’s predatory, making money off writers by having them buy the anthology they have a story in, and having family and friends do the same. These markets are effectively making money off you ‒ you don’t see a damn cent… or very few cents. Fuck that noise. PAY THE CREATIVE.

There’s no reasoning or excuse for that bullshit. The ‘oh, but we’re just starting out’ crap doesn’t fly. Those who are serious about the publishing industry will ensure writers are paid for the work they do. Don’t have the money to pay writers? Get out of the business until you do.

And ‘token’ markets? $5 for a 5000-word story? If that’s the value you expect me to place on my story and the work and imagination, the craft, I’ve put into it? You can bite me.

Thing is, there are writers who are desperate for publishing credits, not understanding that it’s not about the amount of publications behind your name, but who those publications are. Those who target ‘for exposure’ markets for publishing credits are doing more harm than good for not only their writing but their reputation. Why? Because the ‘for exposure’ bar is pretty damn low. If (and that’s a big if) your story is edited, it won’t be by someone who knows what they’re doing, so there’s no growth to be had, no understanding of how successful storytelling works. It creates a cognitive dissonance that your work is great the way it is when that may not be the case at all.

Now if you sub to paying markets (which all writers should), sure there’s a chance of rejection, but that’s part of the gig. It’s always been part of the gig. Trying to avoid that won’t make you a better writer, it will make you a stagnant one.

exposure 1

When I’m slush reading for anthology subs and your cover letter lists a plethora of markets I haven’t heard of, and Google struggles to find said markets, then those publishing credits mean squat – it reeks of desperation. If another author’s cover letter has one publishing credit listed as Clarkesworld, for instance, I will sit up and take notice. Why? Because that shows me the author values their work, it means they’ve laboured over it, and gone through the process of story rejection that is imperative to improving your craft.

Rejections make you look at your story again, see where you can improve and how. And if feedback is provided, then this is a brilliant step in making your story better for the next market to whom you send your baby.

‘For exposure/token’ markets do nothing to improve your writing or your writerly-reputation. Why? Because the bar is pretty damn low, and the reason for this is to make money off you – that’s it. It has nothing to do with putting out quality – the cover art alone should tell you that. Money won’t be spent on a professional editor either. If (and that’s a big if) your story is edited, it won’t be by someone who knows what they’re doing, so there’s no growth to be had, no understanding of how successful storytelling works.

When it comes to marketing, don’t worry, they’ve got that sorted. It’s you. You and your family and friends. ‘For exposure’ and ‘token’ markets count on you and your circle to make them money. Money you won’t see, and money (if they’re ‘token’) that will far exceed that minimal outlay.

And they’ll do it again and again and again because people who aren’t serious about the craft of writing, about getting better at it, will keep subbing. All they want is credits against their name, not to become better writers.

Look, I can’t make you not sub to these markets, what I’m saying is that you should place value on your writing, value that what you do is worthwhile. If writing is truly what you love, then give it the respect it deserves.

And if rejection scares you, buckle up sunshine and take that plunge, you’ll be a better writer for it.

If not, then… happy swimming at the murky bottom of the pool.

Editing, publishing, Ramblings, Writing

TO EDIT OR NOT TO EDIT? (A STUPID QUESTION ANSWERED.)

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To write is human, to edit is divine. ~ Stephen King.

You need to edit your work. Let me say that again, just in case you missed it the first time:

YOU. NEED. TO. EDIT. YOUR. WORK.

It’s not a difficult concept to grasp – even the above words are simple, but it appears a lot of writers believe this is a stage that can be skipped or is entirely unnecessary (I shit you not). They’re wrong. So very wrong. Like, drowning in oceans of wrongness. I recently saw someone proclaim they didn’t need to edit their story before subbing; they’d written it in one sitting and it was good enough to sub without an edit.

No.

Just no.

And fuck off.

There’s a certain level of arrogance and ignorance tied into believing your work, your stories, don’t need another set of eyes to go over it. Forget the fact that you might have misspellings, verb tense issues, punctuation and dialogue anomalies; that your plot isn’t on point, your character is inconsistent, or, hell, that the story just doesn’t make sense. How do you know the tale you’ve visualised has transferred to the page? Do you just not care? Or, are you so sure of your own “perfection” that no other input is necessary? That’s some high-level cognitive dissonance right there.

There are some stories that do just flow from your fingertips onto the page, but that doesn’t mean they don’t need at least a beta reader, someone to give you feedback, to ask questions of plot or dialogue or story direction. Things that will make your story better. Why would an author not want that? Why would you not want to improve not only your story, but your writing?

I’m a professional editor (yes, got the certificates and the industry experience to prove it), and I’m also a writer. Do I edit my own work? Of course I do. Do I send it to others to beta read? Damn straight. Do I have someone else edit it? Hell yes I do. Why? Because I’m too close to the story to see any issues it may have, because I want to know whether it makes sense, because maybe a question or note will make the story stronger, clearer, more kick-arse. Because I want MY BEST WORK out in the world, not just my: ‘fuck it, this’ll do’ work.

Of late, I’ve seen a surge in this ‘fuck it’ submission process, the belief that you just write and your subs will be accepted. Sure, there are places that will accept that “work”, and if ‘for exposure’ markets or ‘contributor copy only’ markets are your thing then… well, okay. You keep doing you. But why not aim higher? Do better?

It comes down to how you value what you do. How you value your readers. Writing is a craft, it needs to be honed, practised, built upon, and you never stop learning. EVER. If you believe you don’t need to edit, that you don’t need beta readers or those rejections that make you look again at your story and better it, then stagnant you will be, stale your stories will become.

edit all the words

Look, I can’t make you engage beta readers, I can’t make you use an editor or hell, even make you edit your own work, but I can guaran-damn-tee you, you won’t hit any of the success you’re wanting. Having a bibliography of pubbed stories in mags or anthologies no one’s heard of doesn’t up your author profile as much as you’d like to think it does. Give me a story published in Nightmare Magazine, or Grimdark Mag, Apex or Clarkesworld over multiple stories published in markets even Google would have trouble finding.

Writers are readers, we know the markets that accept only the highest possible standards, and those are the markets professional writers want to crack – and by professional, I mean those who take the process of writing and all it entails, seriously. Who know there’s more to writing than just words on a page.

It all really comes down to choice:

Be the writer who wants their work to be the best it can be, who wants constructive criticism for the sake of the story, who wants to be better, do better, and to break into those pro-paying markets who have the high standards for which you strive. To have publishers ask you to sub to them because they’ve seen your work and want it; to have readers search for your work because your tales resonated with them, because they love your storytelling.

Or…

Don’t.

Editing, Ramblings, Writing

Tag, you’re it.

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My absolute loathing of the dialogue tag ‘opined’ is no secret. (By all the gods, Baxter, if you start tagging me with that shit again, I will steal your dogs.) If you’re using ‘opined’, or another wankerish dialogue tag to push home to the reader some kind of pretentious point your character is making, then you need to take a look at your character’s dialogue because it should be pretty clear they’re voicing their opinion.

Dialogue tags serve a few purposes. For example, they identify the speaker, they break longer pieces of dialogue, and they can also be used to further enhance emotion. And yes, that third point should be used sparingly – if you can’t convey emotion through dialogue and action, then a dialogue tag telling the reader so, doesn’t really cut it.

Use ‘said’. Almost always use ‘said’. Of course there are going to be exceptions to this ‘rule’, but the beauty of ‘said’ is that it’s invisible. It ensures the emphasis is on the spoken word, on the emotions put forward within those words, and the honesty and/or sub-text behind it.

Dialogue is the voice of your characters, and I’m not just talking accents and inflections here, I’m talking a deeper sense of self. When a character speaks, they reveal a lot about not only themselves but the situation/scene they find themselves in (do not use ‘he/she revealed’, if the characters says it, trust me, it’s revealed). You don’t need a fancy-shmancy dialogue tag, it’s distracting, and removes focus from speech.

Sure, there are times when ‘said’ isn’t going to cut it, but choose words that impact the dialogue, eg. whispered, muttered, shouted, screamed. These dialogue tags up the ante, but use them sparingly or they’ll become repetitive. No, put down that Thesaurus – use ‘said’.

Opine

Same applies with ‘asked’. If there’s a question mark at the end of your dialogue, it’s safe to assume the reader understands a question is being posed – ‘asked’ becomes redundant (don’t use ‘posed’ either, that’s redundant as well).

Look, I understand there are a lot of ‘rules’ to writing and grammar and all that comes with storytelling, but as an editor and a reader, I’m telling you: let the dialogue do the work for you, and let the dialogue tag (if you need one) become invisible. It’s the characters’ voices we want to hear, not the way you tell us they spoke.

Show the reader through dialogue, through action. It falls in line with ‘show don’t tell’. You want the reader to know the character is angry? Don’t use: ‘he/she said angrily’, show us through the narrowing of eyes, the gritting of teeth, or punching a wall, for example. Then use ‘she/he said’. The emotion and/or sense the character is trying to put forward is far more visual, far more visceral, and the reader will be far more engaged than having a character opine at them (you use that, and I’ll cut you).

For a far more polite understanding of the above, check out Devin Madson’s vlog on this very subject: Almost Always Use Said, it has some wonderful insights as to why you shouldn’t fancy up your dialogue attributions.

So, the next time you’re writing dialogue, remember to make that attribution invisible so the voice of your character holds the power it should.

(Seriously, Baxter, I will steal your dogs.)

Editing, publishing, Reading, Writing

Character Motivation: May it Burn with the Fury of a Thousand Suns

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Today’s post is brought to you by motivation. Mine, to actually write the post, and that of the characters you put into your stories – be they short stories or long. Characters are the heart of your tales, they’re who the reader connects with, and they must be on point. Motivation is key to bringing that connectedness to the fore.

Characters are also essential to driving plot, and every character you put into your tales (yes, every) needs to have motive. There needs to be a reason your protagonist makes the decisions they do, there needs to be intent behind your antagonist’s choices. The reasons and intent don’t have to be honourable or dastardly (gods, I love that word), and they don’t have to sit in neat little boxes ‒ protagonist = good, antagonist = bad ‒ they just have to be real. Flaws and all.

I couldn’t tell you the amount of times I’ve put down a book because the characters were wandering aimlessly looking for a plot, or waiting for said plot to impact them. It doesn’t work that way.  The story cannot act independently of the characters. You don’t read a story solely for plot, you read it for those who live, who try to survive the world you’ve created. Don’t sell them short.

Ray-Bradbury 1

So what is motivation? Merriam-Webster defines it as: a motivating force, stimulus, or influence. Incentive. Drive.

That. Right there. ↑ Now ask yourself: what is the incentive, the influence that drives your character(s)? It’s that inner motivation, that sense of self that impacts the plot, the story. And will continue to do so. Every decision (good or bad) your characters make will influence the story – some of these decisions may essentially backfire, but there’s nothing wrong with that. Nothing should be easy.

Motivation doesn’t need to be complex, it can be simple but it needs to be that driving force. Yes, FORCE. Motivation can be: you killed my family, payback’s a bitch. Simple, yes? But the depth comes in the decisions and choices your character makes to achieve this end.

Let’s take a look at how this works. Your protagonist, now alone in the world, is driven almost blindly for retribution. Do you: a) have them stumble across a magical object that by chance provides them with the exact location of the antagonist and off they go? Or b) have them make a pact with a shifty character whose motivations, while at odds with their own, can get them closer to their target ‒ but in doing so compromises the protagonists morals?

You know which one I’m reading. Character motivation can (and should) cause all kinds of issues that influence plot/story. Characters are the driving force behind your storytelling, and what motivates them is what will connect to the reader. Give them lives and loves, sins and secrets, and have all of that be the heart of your story.

Motivation and conflict of that motivation is what can make a good story great. Don’t waste time on overly-detailed physical descriptions. Sure, physicality is important to a point – it’s nice to know what a character looks like, but is it essential to the story? Rarely. Ah, but give conflict to motivation and you really set the bar high.

So your antagonist has green eyes. Cool. Does she burn with the fury of a thousand suns because your protagonist was born into a family that subjugated hers? Your protagonist has hair the colour of silver? Nice. Does she practice her fighting skills to the point of exhaustion to not only kill the antagonist who wreaks havoc on the realm’s stability, but to take her place and destroy the father she hates?

You see where I’m going with this? By giving your characters motivation to achieve their ends, by adding conflict to that motivation, you make them real to your reader, you make them believable, and you create a story that has depth and layers and soul. It’s what brings readers back to your writing.

Motivation. It makes all the difference. Have it make the difference in your story.