Mirrored from Writer Tamago.
Mirrored from Writer Tamago.
This work by http://www.swantower.com is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The next time I take a picture like this one, I’ll have an easier time of it.
Hawaii was one of the last trips I took before I was in the habit of using Lightroom to edit my photos, which means I didn’t plan for the editing process in taking the shot. Which means I took about twenty-seven of these shots, trying to get one where the horizon was actually level — that wake you see is from the ferry I was riding in, so I kept being rolled in one direction or the other. In the future I can just take a wider shot without worrying as much about the framing, and then straighten it out in post.This entry was also posted at http://swan-tower.dreamwidth.org/670610.h
Nearly two years ago my friend James Bacon phoned me up and asked me if I’d be on for designing the comic book programme at Worldcon in London (known as Loncon 3) in August 2014. I agreed readily enough as I was keen to raise the profile of comic books at the event. Comics are still a bit of a newcomer to Worldcon – the Hugo Award for Best Graphic Story was only introduced in 2009.
I didn’t realise how much work was involved, which was probably lucky for James, as I might have turned him down if I truly understood.
I now have huge respect for the Worldcon programming team (especially the techs who have managed its database). They have achieved a gigantic task with professionalism and tact. The programme has gone online today, and I’m really pleased with the result.
Just to give you an idea of the logistic challenge involved: there are 9,000 members of Worldcon, and 1,000 of them volunteered for programming. There are 600+ cross media programme items happening over the five days of the convention. The volunteers listed their areas of interest in the programme, as well as indicating what times they didn’t want to be scheduled, or events they didn’t want to be panelled against.
Plus, many of the people I wanted to use on programming were in high demand in other areas. I had to try to assemble a diverse list of panellists, while avoiding clashes with other programme items. Sometimes I couldn’t squeeze people in because they were already heavily scheduled, and you have to try and be fair with allocation of panels. Other times people dropped off panels because of various reasons which caused difficulty in re-assigning a replacement because of the panel topic or time slot.
And always we were up against deadlines: finishing the draft programming, adjusting the programme after an onslaught of email, and finalising the programme on time for the publication deadline. Even now, I have some minor changes to make due to extremely late line-up changes.
It’s a very difficult job, and I was only in charge of one department. The people at the top level – James Bacon, Liz Batty, and Ian Stockdale – had to oversee everything. There are way too many other people to thank, but I also need to mention Emma England, Spike, Niall Harrison, Mark Slater, Alissa McKersie, and Esther MacCallum-Stewart who have been particularly helpful to me.
I have so much respect and admiration for the trojan work of all the staff of Worldcon, who have put so much effort into designing an event for the enjoyment of others – on their own time and for no payment.
Here’s the listing of all the events in my area. Several of them are cross-programme items, and here they are broken down by panels, talks, workshops, and screenings.
I hope people enjoy the comic book events at Worldcon!
But, they’ll have plenty of competition from the tremendous variety of events in the other departments: science, literature, media, television, gaming, young adult, WOOFA, music, art, video games, academic, and costume/cosplay. It’s going to be hard to decide what to attend.
Oh, and do download the Grenadine Event Guide app from either the iTunes store or the Google Play store (it doesn’t even ask for any sneaky permissions). Once you download it, type in loncon, and it will download the programme directly to your device.
It will sync with the latest updates, and you should be able to create your own bespoke programme – very handy for those of you on panels.
Please have patience if you encounter any glitches, and report them. The techies will do their utmost to resolve anything within the realms of possibility.
There was a time when I was so starved for any writing advice, I’d take whatever crap would fall in. Granted, I was a Scientologist at the time, so you could say I was particularly primed for not only sources of bad advice, but also the unquestioned acceptance of same.
Over the years, I found that my brain became so constrained by all the bullshit I’d accepted that I found it impossible to write at all. I was bound by the red tape.
Look, having any kind of respectable publishing credits helps. No question.
But not all novelists can write short. Even if they can write short, they may be nowhere near as good a short story writer as they are a novelist.
So here’s my revised answer to that: Write short stories because you want to. Submit them because you want to.
If they don’t speak to you, there are plenty of other, better ways to spend that time.
I heard this last weekend. Verbatim.
Do I believe it’s true? No, I do not. Edward D. Hoch made a living as a short story writer.
Do I believe the odds are against you?
Sure, if you insist on thinking of it in terms of odds, which I don’t think is helpful.
Rather, I prefer to think of it this way: if you want to make a lot of money as a short story writer, you’d likely need to have a large number of relatively uncomplicated (in the sense that it’s a “short story” idea rather than a “novel” idea) ideas that you can write and polish to professional levels.
I know me: I have a smaller number of ideas but they’re more complex, and thus I’m a novella or novel kind of writer.
There’s also the issue that how much you make from short fiction depends on what venues are available for you to sell it, including film and television. Excluding self publishing at the moment, I’d argue that novella length has new life in the digital first markets.
Case in point:
We both have short stories and novellas, which frequently don’t make it into print except in collections or magazines. Those collections and magazines tend to pay token amounts if at all — contributor’s copies are common — whereas I’ve made over $8,000 from a novella published in 2011. Aleks and I co-wrote a short story that was released last year and has made each of us just under $2,000.
I’d say that most people would think $8,000 was “a lot of money.” Somewhat fewer would consider $4,000 ($2,000 x 2 writers) “a lot of money.”
But $10,000? For two pieces of short fiction? That’s a lot of money.
Ahh, but she writes male/male romance, you say.
I say that’s not the point. The point is that this construction, “You’re never going to make a lot of money as a short story writer,” assumes things one cannot possibly know about me and my future. It’s a prediction that my future will suck because someone else’s past (e.g., the speaker’s) has sucked.
Besides, Clive Barker did pretty well with this one novella. There are other examples, too.
Rather, it’s more helpful to know what kind of writer you are and whether or not that road would be easier or harder for you. If you’ve got a background writing short non-fiction, then writing short fiction may be easier for you.
Just because it’s a hard road isn’t a reason not to do it. A hard road is still a path, just a difficult one.
There are plenty of kinds of writing, if writing is what you want to do. If it’s not, there are plenty of things to do in almost any field. I really wish I’d understood this early on, because I felt roles were far more rigid when I was in high school. Maybe that was my mistake.
To which I respond: my favorite novel’s in second person.
You’re four hours into your shift, decompressing from two weeks of working nights supervising clean-up after drunken fights on Lothian Road and domestics in Craiglockhart. Daylight work on the other side of the capital city comes as a big relief, bringing with it business of a different, and mostly less violent, sort. This morning you dealt with: two shoplifting call-outs, getting your team to chase up a bunch of littering offences, a couple of community liaison visits, and you’re due down the station in two hours to record your testimony for the plead-by-email hearing on a serial B&E case you’ve been working on. You’re also baby-sitting Bob—probationary constable Robert Lockhart—who is ever so slightly fresh out of police college and about as probationary as a very probationary thing indeed. So it’s not like you’re not busy or anything, but at least it’s low-stress stuff for the most part.
Second is very voicey, and it’s both a boon and a bane because of that.
Write in whatever viewpoint you feel happens to fit the story best, including second if you’re so inclined. If you’ve never tried it before, consider rewriting a scene in second person. See how it feels. Try the same scene in first and third emphasizing different viewpoint characters.
There’s no single right answer, but some genres are more frequently in one or the other.
I’ll give an example, though, of where I think first person really hurt the book.
Edward hovered over Bella at night in part because he was protecting her against rogue vampires that she didn’t know existed. Because the book was written in first person, it made Edward look more manipulative and controlling (and for worse reasons) than was actually true. because the book’s POV only showed things that Bella knew, and she didn’t know the whole story.
Read the partial of Midnight Sun (Twilight told from Edward’s POV) alongside Twilight. The two taken together, plus the movie, are a rare opportunity to learn from POV choices and mistakes.
So, if the motivations of another character are important to understanding the piece as sympathetically as possible, consider writing in third. Or, you know, some other POV that’s not a single first person POV.
I know a lot of heartbreaking stories in publishing. People having solicited manuscripts lost in piles in a publisher’s office for years. People having their novel abandoned when an editor goes on maternity leave and the replacement editor quits to go into the food business.
There are all kinds of narratives about publishing, and one of the ones I want to address is this: that there is such a thing as odds that determine whether or not you’ll sell a story or whether it’ll do well.
When I receive, say, 100 submissions for BayCon, the odds that I accept your story is not 1 in 100. I don’t roll any dice. Did you write the best story I received? Does your story mesh with my taste? Does it fit the theme better than other stories? (We don’t require that it fit the theme, but it doesn’t hurt.) That’s not a matter of odds.
More than half the time, I reject a story on the first page. I’m sure every writer did the best they could on their first page. Sometimes, it’s a matter of fit. I’ve said that the story we buy has to be family friendly, so “fuck” on the first (or any) page is a non-starter. And yes, I’ve rejected more than one story for exactly that reason.
It’s entirely random that I once, back in the Abyss & Apex days, received two short stories in a row with first sentences that had unintended flying trees. Yay misplaced modifiers. (Both of those were rejected on the first sentence.)
So you’ve survived the first page. Does your piece plunge immediately into backstory on page 2 or 3? That’s probably the single most common reason I reject stories on pages 2 or 3. And yes, this can be done right, and it so frequently isn’t. I’ve done it badly myself. Recently. (First draft, so there’s that.)
Let’s say I get to the end. More than half the time, I’ll still reject the story. Most frequently, it’s one of: the story you started isn’t the story you finished, or you didn’t nail the ending.
Another common failure is what I call the “this feels like a novel chapter” problem. I didn’t really understand this phrase until I saw it a few times as an editor. If you’ve raised more interesting questions/problems/plot points that are referred to in the narrative but don’t happen in the narrative present, it’ll feel like it’s a piece of a longer work. The only way I know of to fix one of these babies is to trim off the glittery parts that point out to other plot lines and story arcs until it feels like the story is resolved in the short form.
But selling a story? That’s not a matter of odds.
Let’s say the first page is solid and interesting, and pages 2 and 3 are strong enough to keep me going, and I finish the piece, and you have a great ending. You’ll likely wind up on the short list.
If anything in the process involves odds, then it’s what happens on the short list, because generally there are more pieces than there are slots we can publish. Since we’re picking newer writers, name isn’t a consideration. It’s just which stories the various people like the best. (I pick the short list, but that’s winnowed down by a small group.)
Three little things.
Is this beginning actually the best entry point for your story for a reader? Not just where you started writing.
Love your piece for what it is. Every piece has issues. Do what you can, then move on. I remember going over another author’s piece in a critique session. The author was worried about how it would be received because of a structure issue. I thought it was fabulous as it stood. It was later nominated for a major award, pretty much as I read it.
Don’t overwork a piece in response to critiques. One of the death knells of an opening is often over-response to a critique like: “I wanted to know more about X in the beginning.” Then the writer edits it in, destroying the opening. Someone wants to know more about the character? Good. Read on.
For anyone who hasn't heard already - rose_lemberg's running a kickstarter for an AWESOMESAUCE anthology and it will be splendid and needs funding :D The picture's a link! So is the text below. Rose sez:
I am looking to publish about 30 or so pieces of lyrical prose and unclassifiables in a mix of originals and reprints. If this Kickstarter funds, I will pay SFWA pro rates at 6c a word for originals, and 3c a word for reprints. I will read pieces between 500-1400 words long.
I am committed to diversity of voice and theme in all my editorial projects, and this one will be no exception. I will be looking for beauty and resonance from all quarters and in all forms. As always, I am invested in supporting creators that belong to marginalized groups.
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